EDUCATION
1992-3
Masters in Fine Arts 1st Class Honours (Sculpture).
Fowld's Memorial Prize for the Pre-eminent Fine Arts Student
Elam School of Fine Arts, University of Auckland.
Dissertation: Towards a Rigorous Extrapolative Non-verbal Three Dimensional Thinking Tool
1984
Auckland Secondary Teachers’ Training College.
Division C- Art and Art History.
1980 - 1982
BA Visual Arts -Sydney College of the Arts, Australia.
Double Major in Sculpture.
Specialist Areas - sound and performance.
EXHIBITIONS
2015
Group - Bonsai: John Lyall & Haruhiko Sameshima, a collaboration of photographs by Haruhiko Sameshima and Bonsai by John Lyall. Whitespace, Auckland
2013
Solo - Moa Moa Moa Whitespace, Auckland
2012
Group - Selection 6 - The Artist's Selection, Jane Sanders Art Agent, Aucklan
2011
Group -
Wood for the Trees, John Lyall, Michael Shepherd, Russell Moses, Tanya Ruka, Derek March, Lopell House Gallery, Titerangi, Auckland.
Solo -
Forest & Bird, Jane Sanders Art Agent, Auckland, Part of the Auckland Festival of Photography.
2010/11
Group - Selection 010 -011, Jane Sanders Art Agent, Auckland.
2010
Solo - Poster Boy, photography and video, Jane Sanders Art Agent, Auckland,
Meccano Man: Laconic Constructions, Objectspace, Auckland.
Performance - Poetry Reading, Viva, Mt Eden, Auckland
2009
Solo - A Survey - Digital Darkroom, Auckland.
Group - SELECT> EFFECT > EXPORT, John Lyall, Simon Morris, Sarah Munro, Rose Nolan,
DJ Simpson, Te Tuhi, Auckland.
Nine Dragonheads, Korea.
Performance - Nine Dragon Heads, Korea
2007
Guest artist for the Vinnies Art Box Project, Auckland
Solo - Meccano, New limited edition Dilana Rugs, Auckland.
Group - The Summer Season, 40 George Street, Auckland.
Cultivating Nature, group show, 40 George Street, Auckland.
Existence: Life according to Art, Waikato Museum, Hamilton.
Performance - My Mother's Backyard, Windows Project, Whitcoulls for AKO7, Auckland.
2008
Solo - “Left Luggage”; Wildly Nostalgic Critique of the (Environmental) Politics of the Old Left. part of Creative Exposure, Auckland Festival of Photography, 40 George Street, Auckland.
Group - 22nd International Winter Festival Sarajevo, Nine Dragon Heads at the Turkish Cultural Centre - performing and installing in the free city of Sarajevo.
Drawn to it, 40 George Street, Auckland
Birds, Sarjeant Gallery, Wanganui.
Cartesian NZ Sculpture on Shore, Auckland
Performance - Flew – John Lyall gives a sifted, acoustic, hyper-nature response to the work of Wolfgang Laib. Auckland Art Gallery.
2005
Solo - Borrowed Scenery, new photographs and drawings, 40 George Street, Auckland.
Group - NatureCulture. 40 George Street, Auckland.
Uncanny - the unnaturally strange, an exhibition with Australian and New Zealand artists, Artspace, Auckland.
Nine DragonHeads 10th International Environmental Art Symposium, Nine DragonHeads Foundation, Cheongju Art Centre, Seoul, Korea.
Performance Apr - Nine Dragon Heads 10th International Environmental Art Symposium, Nine DragonHeads Foundation, Cheongju Art Centre, Seoul, Korea
2004
Solo - Burial at Sea for a Lost Elegance. 40 George Street Gallery, Auckland.
Snow Leopard Dreaming, Show, Wellington.
Group - New Zealand Contemporary Artists Exhibition, Gallery Pici, Seoul, Korea.
Nine Dragon Heads 9th International Environmental Art Symposium, Nine DragonHeads Foundation, Cheongju Art Centre, Seoul, Korea.
Generation 50, Te Wa - The Space, Wanganui.
II, 40 George Street. Auckland
Enterchange – Performance and Nature, curated by Wallace Heim, www.greenmuseum.org
5 Cheers for 2004, 40 George Street. Auckland
Performance - December - Snow Leopard Dreaming, Show, Wellington.
May - Yard Art and Some Laconic Natures. 8 solo performances.
40 George Street Gallery, Auckland.
Mar - A Domestic Sublime: Still Life. 4 solo works. 40 George Street Gallery, Auckland.
2003
Group - Still Life, also featured Meccano, new
Dilana Rug designs 40 George Street Gallery, Auckland.
Intersculpt2003 - 3D Digital Art Event, Snowwhite, Unhitch Faculty of Architecture and Design, Auckland.
2002
Solo - A Moa, A Math, A Mount, 40 George Street Gallery, Auckland.
Group - Drawings. Christmas Show. Auckland City Art Gallery
Lush Platform, Melbourne, Australia. 2001
Group- Bright Paradise - Exotic History and Sublime Artifice - 1st Auckland Triennial. Curated by Allan Smith, New Gallery, Auckland. (50 cibachromes exhibited)
Darkness & Light: looking at landscape. Co-curators Simeon Kronenberg & Ngahiraka Mason, New Gallery, Auckland.
Take an Image, Art Station, Auckland.
Performance - Waltzing the Feral, Moving Image Centre, Auckland.
Waltzing the Feral a performance at Artspace, Auckland, as part of Bright Paradise, Triennial.by (x no. of) People Who Hit Things
all works written by John Lyall, (group formed in 1988)
2000
Solo - Towards a Feral Art Photographs, Peter Scott Gallery, Lancaster, England.
Group - Bathos Selected in the Tenth Wallace Art Awards, Auckland Art Gallery, Auckland.
Darkness and Light: looking at landscape. Co-curators Simeon Kronenberg & Ngahiraka Mason, McLellan Gallery, Melbourne, Australia.
Performance - July Requiem for (dis-located) Electronic Moa
A performance cyber/opera in Lancaster at the Between Nature conference, Nuffield Theatre complex.
Three performers.
Accompanying catalogue/programme.
1999/2000
Solo - Transit of Auckland Photographs and installation, Lopdell House Gallery, Titirangi
1999
Performance - March Requiem for Electronic Moa
A performance cyber/opera in Auckland in the rolling pacific Rim festival
SOUNDCULTURE 98 March 12 – 20
Hopetown Alpha, Auckland.
Ten performers.
Accompanying catalogue/programme. 1998
Group - Islands in the Net, Curated by Nigel Clark, a web show at The Physics Room, Christchurch.
1997
Solo - Towards an Hyper-Feral Art Aotearoa: Picketing the Sublime; given both a Blue Displacement and an Illuminating Vessel. New Gallery, Auckland Art Gallery. An installation of three parts comprising:
The von Guerard painting: Lake Wakatipu and Mount Earnslaw, Middle Island New Zealand 1877-79 The installed deconstructed landscape:
Materials - demolition windows, coloured glass, doweling, wooden lace [villa], picket fence, demolition balustrade, distressed furniture, manuka, flowering cherry trunk hardboard, plywood, custom wood, mechanics' inspection lamps [blue & green incandescent bulbs], galvanised sheet metal. 17 x 12 x 5 meters. Artist’s text on lectern
Putting Our Town on the Map, Kawarau
(cibachromes from book. Touring show from the Bathhouse, Rotorua)
Putting Our Town on the Map Te Awamutu Museum.
(15 cibachromes from book. Touring show from the Bathhouse, Rotorua.]
Group - alt.nature, [Vicki Kerr, John Lyall, Boyd Webb] Curated by Nigel Clark, Artspace, Auckland. Performance - Sept Pumping up the Sublime [Version 11] & Hunting Mechanism for Moa.
Two performances three performers 1 hour 45 minutes at Lopdell Gallery, Titirangi. [A work involving videos, sound tapes, a waterfall, camping gear and digital sound sampler, demolition materials.
December - Pumping up the Sublime
Three performers 45 minutes at Artspace, Auckland.
(A work involving video, sound tapes, a waterfall camping gear and computer diva)
1996
Solo - Putting Our Town on the Map Rotorua Museum of Art and History (The Bath-House) (33 cibachromes from book of same title, published by Harper collins, October 1995).
Entire show was accessioned into the permanent collection. 1995
Retrospectrum, Escalante Gallery, Ponsonby, Auckland.
The Waterfall, Kant's Train Set, and a Tent Drawings Gallery, Ponsonby, Auckland
Group - 100 x 100 x 100, Drawings Gallery, Ponsonby, Auckland.
The Nervous System, curated by Alan Smith, touring group show, Govett-Brewster, New Plymouth & City Gallery, Wellington (Nov).
Waste Not, Want Not, Lopdell Gallery, Titirangi, Auckland.
Found Object, Outreach, Ponsonby, Auckland.
1994
Solo - Installation Towards a Hyper-Feral Art, Aotearoa Pumping up The Sublime, Given Both a Waterfall and a Designated Seat
An installation in demolition timber, furniture, tree Toppings, doweling, waterfall components, pump, galvinised sheet metal.
Fisher Gallery, Auckland.
Towards an Hyper-Feral Art - An installation of three curves in demolition timber, tree Toppings stainless steel strapping and doweling.
Claybrook Gallery, Auckland
Group - Art Now Museum of New Zealand, Wellington.
Towards a Feral Art, Aotearoa: Picketing the Sublime, given both a cataract and a prospect of impalement
(Installation - demolition timber, doweling, wooden lace [villa], picket fence, demolition windows, distressed furniture, hardboard, mechanics' inspection lamps, fake fur, stainless steel strapping. (20 x 8 x 4.5 meters)
Open the Shutter Auckland Museum Photoforum
(Four cibachrome prints of installations in remote sites)
Elam Sculpture, Old Telecom Building, Auckland.
1993
Solo - Towards a Feral Art Aotearoa: Three Cartesian Stoppages; Given both an Uncertain Locus and Chaotic Material.
An installation of three curves in demolition timber, tree Toppings stainless steel strapping and doweling, three oil stick drawings, three cibachrome prints.
Lopdell Gallery, Titirangi, Auckland.
Group - Do the Continental, Texan Art Schools, Auckland.
Garden Show, ASA Gallery, Auckland.
Stranded, Elam Sculpture Show, Strand Building, Parnell, Auckland Performance - November Soundculture, Tokyo, Japan solo performance work as part of a concert of three New Zealand performers- (also Phil Dadson, Juliet Palmer)
Towards an hyper feral art, Aotearoa; given both a hunting mechanism and a calculus of the sublime.
Artspace, Three works all works written by John Lyall.
CLOCKWORK; ENTRAIN, DERAIL
Three performers, 10 minutes
Towards a Keplerian Ecology, Version 11
Three performers, 30 minutes
Towards an Electric Ecology: A Reconciliation of Hypernatures; Given both a Dislocation by Inversion and a Vacant Niche.
Three performers, 40 minutes.
1992
Group - Stranded, Elam Sculpture Show, Strand Building, Parnell, Auckland.
Performance - Soundwatch (two works)
Towards a Keplerian Ecology.
Three performers, 25 minutes
Towards an Electric Ecology: A Reconciliation of Hypernatures; Given both a Dislocation by Inversion and a Vacant Niche
Three performers, 35 minutes
1991
Group - Contributor text work Like We Are Now, Auckland. Curated by John Barnett and Lesley Kaiser.
1990
Group - Photographic work in United Masters Photography Exhibition, Sarjeant Gallery, Wanganui.
Performance - Aotea Centre Opening, Afternoon of New Music. (one work) Sonic Descent in Eleven Intervals
Four performers, 25 minutes
1989
Solo - Towards a Feral Art Aotearoa: 13 Cibachrome prints. Real Pictures, Grey Lynn, Auckland.
Performance - Soundwatch: (two works)
Towers and Platforms
Four performers, 25 minutes Islands (with the Sounds of their own Construction)
1 - 10 - 1
Four performers, 35 minutes
1979
Solo - installation and cibachromes at Kitchener Gallery, Cambridge, U.K.(Recipient East Anglia Arts Council grant in support).
1972 - 1982
Exhibitions in Australia and U.K., and sound pieces in Italy, Japan.
COMMISSIONS
2002
Mobius Gate for the Village Green Park at Te Atatu, Auckland.
[Selected from invited proposals]
2002
Lace Pavilion for the Village Green Park at Te Atatu, Auckland.[Selected from invited proposals]
PUBLICATIONS, RESEARCH
BOOKS
The Accelerated Sublime: Landscape, Tourism and Identity
C. Bell & J. Lyall, USA, Praeger, 2002.
International study of landscape as a commodity in both tourism and national identity discourse.
Putting Our Town on the Map
C.Bell and J. Lyall. New Zealand, Harper Collins, 1995.
Book of text and 210 images about N Z community identity symbols, signs and events in the 1990s [from a body of 2,500+ transparencies from four years of travel and research in New Zealand] This material was also used for TV documentary, travelling photographic exhibition (accessioned by Rotorua Art Museum), and national postage stamps 1998. Finalist, New Zealand Montana Book Awards, 1996
BOOK CHAPTERS
2004 Lyall, J. ‘Post Empire: A Philatelic Ecology’, in Cultural Studies in Aotearoa/New Zealand. Eds. C. Bell and S. Matthewman, Oxford University Press, Melbourne. pg. 210 - 224.
2004 Bell C. and J. Lyall. ‘Welcome to Auckland: a City Bus Tour’ in Almighty Auckland! Eds. Ian Carter, David Craig and Steve Mathewman. Dunmore, New Zealand pg. 210 – 224.
2002 Bell C. and Lyall. J. ‘Pixilated Evidence’ for Convergent Cultures:Touring and Media. Ed. David Crouch. U.K., Routledge.
[Submitted; Accepted; Forthcoming, 2004].
2003 Bell, C. and J. Lyall. ‘Visual Cultural Methodology’ in Social Science Research in New Zealand. Eds. Carl Davidson and Martin Tolich. New Zealand, Longman, Pearson education. 2nd Edition.
2002 Bell. C. and J. Lyall. 'The Accelerated Sublime: thrill seeking heroes in the commodified landscape' in Tourism: Between Place and Performance. Eds. Simon Coleman and Mike Crang, Berghahn Press, Oxford, UK.
2002 Bell, C. and J. Lyall ‘One Night Out Gambling’ in Gambling in New Zealand. Ed. Curtis, B. New Zealand, Dunmore.
2001 Lyall, J. ‘A Blue Displacement: Deconstructing the Sublime’ in Derrida Down Under. Eds. Lawrence Simmons and Heather Worth; Dunmore Press. (Includes a chapter by Jacques Derrida).
2001 Bell. C. and J. Lyall. ‘Aesthetic Leisure” in Sociology of Everyday Life in New Zealand. Ed. C. Bell, New Zealand, Dunmore Press.
2000 Bell. C. and J. Lyall. ‘Visions of the 21st Century: Designing Future Communities’ in The New Epoch. Ed. Martin Schoenhals and Joseph Behar. Dowling College Press, New York. 1991 Contributor text work Like We Are Now, Auckland. Curated by John Barnett and Lesley Kaiser.
REFEREED JOURNAL ARTICLES
2002 Bell, C. and Lyall, J. ‘A Town Called JenniferAnn.com’ in Space and Culture Vol. 5, No 2, pg. 268-274.
2001 Bell, C. and Lyall. J. ‘The New Millennium: Social Ergonomics of Community Design’ U.K. Futures 32 (2000) pg. 749 – 758.Refereed Conference Proceedings2002 Bell C. and Lyall J. ’Bodies on View the Crazy House, Dalat, Vietnam’ CSAA
Annual Conference Culture Incorporated. Christchurch.
[Submitted to Continuum, Australia.]
2001 Bell, C. and J. Lyall. ‘Packing Nations: Expo 2000’ The Australian Sociological Association TASA
2001 Conference, 13 – 15 December. CD Edited by C. Browne,
K. Edwards, V. Watson and R. van Krieken. The University of Sydney, Australia.
2001 Bell, C. and J. Lyall. ‘Aesthetic Leisure: Arts Every Day’. Reinvigorating New Zealand Sociology: Practices, Projects, Politics and Protests. Proceedings of Conference
2000, 17 – 19 November 2000. University of Waikato, Department of Sociology and Social Policy.
CONFERENCE PAPERS
2004 Representations of the Sublime in New Zealand. Imagining New Zealand/Aotearoa: Histories and Representations 11th annual day conference of the New Zealand Studies Association, New Zealand House, London. Saturday 3 July.
2003 The Unquiet Americans, Photography by the Home Team at CSAA Annual Conference Culture Incorporated. Christchurch
July 2000 Glory be… for pixilated things’ Between Natures Conference, Lancaster, UK.
August 1999 A Blue Displacement: Deconstructing the Sublime Derrida Down Under Conference, University of Auckland.
December 1999 Hyper-ferality and the Antipodes Culture and Citizenship Conference, Centre for Cultural Studies, University of Lisbon, Portugal.
1998 Paper co-written with C. Bell The Accelerated Sublime at conference Practicing Places and Tourist Performances, Durham University, UK. Published in book Tourism. Between Place and Performance edited by Simon Coleman and Mike Crang, Durham University, UK.
Later developed into own book with Praeger.
1996 Hyper-Ferality Paper given at Narratives and Metaphors Conference, University of Auckland. 1993 The Pink Pig Meets Peter Greenaway’. Co-written with C. Bell. Paper and 450 transparency images for the New Zealand Sociology Association Conference, Auckland.Has also attended various conferences (without paper presentation)
e.g. Digital Aesthetics, Sydney, Australia 1997 and Engaging Practices, Auckland, 1998.
OTHER PUBLICATIONS
2010 Show Ed. Gillian, J. Enzyme Publishing,Auckland. pg 34-39.
1992 Computers in Art Co-written with Curriculum Development Group, one of a series of booklets dealing with the use of computers across the curriculum, published by the Ministry of Education
MAGAZINE ARTICLE
1995 You Are Here! Stating identity in New Zealand Towns New Zealand Geographic magazine, issue 28, September.
Sixteen pages - article and photographs with co-writer Claudia Bell.
PHOTOGRAPHS FOR
2004 Excavating the Past: Michael Shepherd, Painter. Author Claudia Bell, Gilt Edge Press, Wellington
2004 Pictures and politics: Pat and Gil Hanly in Reading Between the Lives (ed.) Deoborah Shepard, Auckland, Auckland University Press.
2004 Nature performed: environment, culture and performance (eds.) Bronislaw Szerszynski; Wallace Heim; Claire Waterton, Oxford; Malden, MA: Blackwell Pub. Sociological Review.
1999 Quicksands Foundational Histories in Australia and Aotearoa New Zealand. (ed.) K. Newman, N. Thomas and H. Eriksen. UNSW Press.
1998 Concept for series (from book Putting Our Town on the Map) and two photographic images, [Gore Trout and Riverton Paua] in NZ Post Town Icons stamp set. Stamp Released on 10/10/98.
1996 Inventing New Zealand, everyday myths of pakeha identity. Book by Dr. Claudia Bell published by Penguin; black and white photographs by John Lyall. 1995 SITES (Cultural Studies Journal, Massey University)
1996 Photographs National Identities/National Futures Issue. No. 30, Autumn.
1995 New Zealand Listener, April 8 - 14, photographs for article Roadside Attractions by Findlay MacDonald.
1994 SITES (Cultural Studies Journal, Massey University) Cover Art Issue No.29, Spring.
1994 Travels in Hyper-Rurality: Mythologies Perpetuated Paper presented at the U. S. New Zealand Studies Assoc. Conference, Albuquerque, New Mexico, by Claudia Bell.
1993 Travels in Hyper-Rurality: Rural Mythologies from the Road Paper presented at Post-Colonial Formations Conference, Brisbane by Claudia Bell.
1992 Front and back cover Landfall 182 (June) ‘Like we are now’ exhibition.
TELEVISION
Television Documentary Putting Our Town on the Map for Inside New Zealand
Broadcast April 12th 1995, TV 3 Inside New Zealand series.
Director, Shirley Horrocks, Point of View Productions.
Concept, Images, Script Consultant, Co-Researcher - John Lyall.
VIDEOS - Featuring John Lyall and his Work
1995 Open the Shutter Directed by Stuart Sontier. Funded by Photoforum.
1995 Waste Not, Want Not Directed by Rueben Martin. Funded by Lopdell Gallery and AIT, Auckland.
CATALOGUES
2010 Bell, C. John Lyall Poster Boy. PDF catalogue for exhibition.
2005 Nine Dragon Heads 10th International Environmental Art Symposium, Nine DragonHeads Foundation, Cheongju Art Centre, Seoul, Korea
2004 New Zealand Contemporary Artists Exhibition in Seoul. Gallery Pici, Seoul, Korea.
2004 Nine Dragon Heads 9th International Environmental Art Symposium; Nine Dragon Heads Foundation, Cheongju Art Centre, Seoul, Korea.
2002 LUSH, Platform 1, Melbourne, Australia.
2001 Bright Paradise Auckland Art Gallery.
2000 Darkness and Light, McLellan Gallery, Australia, March 1999 Requiem for Electronic Moa For a performance of cyber-opera. Published by enzyme, Auckland, New Zealand.
1998 alt.nature Artspace, Auckland, and Dunedin Public Art Gallery in October.
1997 John Lyall - Towards a hyper-feral art, Aotearoa: Picketing the sublime, given both a blue displacement and an illuminating vessel. Auckland Art Gallery.
1995 The Nervous System: Twelve artists explore images and identities in crisis, Govett-Brewster Art Gallery, New Plymouth & City Gallery, Wellington, Te Whare Toi.
1994 ART NOW - The First Biennial Review of Contemporary Art - Recent sculpture and installation.
1994 I BODY / SITE / MATERIAL / SIGN Te Papa Tongarewa, Museum of New Zealand, Wellington.
1994 Open the shutter – Auckland photographers Now PhotoForum. Auckland Museum.
1990 United Banking Group Ltd./ Sarjeant Gallery Photographic Gallery Photographic Award. Sargeant Gallery, Wanganui.
ARTICLES featuring John Lyall's work:
2003 Nature performed: environment, culture and performance.(eds.) Bronislaw Szerszynski, Wallace Heim, Claire Waterton, Oxford, and Malden, MA: Blackwell Pub. Sociological Review.
August 1999 Art and Text Requiem for Electronic Moa Review by Peter Shand.
Plus numerous newspaper articles on various projects and exhibitions.
July 1999 Pander No. 8, Soundculture Supplement.
1999 Art New Zealand 91, Winter Soundculture 99 by Julianne Sumic
1999 Chapter including commentary on the work of John Lyall by Nigel Clark in Quicksands: Myths of Origin in the Antipodes.
(eds.) Nicholas Thomas, Klaus Neumann, Hilary Eriksen, UNSW Press, Australia.
1999 On John Lyall's work, in book New Zealand Sculptors, by Priscilla Pitts; New Zealand; Bateman.
May-July 1998 alt-nature by Christina Barton Art and Text no 61.1996 New Zealand Neuroses, Art Asia Pacific.
1995 Towards the Feral - John Lyall at Karekare Art New Zealand number 78, Autumn
June 1992 On the electronic sign above the BNZ, corner of Queen and Shortland Streets Landfall 182.
BUILT THOUGHT
This original on-going project began as my dissertation as part of my MFA at Elam, 1992-3.
My dissertation Towards a Rigorous Extrapolative Non-verbal Three Dimensional Thinking Tool had its own unique Library of Congress number generated.
Built Thought was developed from my thesis research into a series of practical workshops on the cognitive ergonomics of three dimensional thinking. I have run workshops including at and in the following:
Since then the procedure has been refined. I have run a series of workshops at and in the following:
• As core content in Masters Design Management Creativity Unit, Unitec, Auckland
• In Masters in Project Management, Unitec, Auckland.
• 1st, 2nd, 3rd and 4th year Sculpture at Unitec, Auckland.
• Product, Object and Jewellery Studio Majors at Unitec, Auckland.
• Auckland Secondary Art Teacher Training.
• Sculpture course, AUT, Auckland University of Technology.
• New Zealand Institute of Architects. (Creativity course)
• Art Educators Conference Workshop.
• Centre for Continuing Education, University of Auckland evening course, 1994
• Secondary School Art Classrooms (Henderson High, St Paul's)
• Dept of Geography, Open University, Milton Keynes. UK. (July 2004)
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Installation shot: Wood for the Trees,
Lopdell House Gallery, 2011.
Small Kiss installed at Akaroa,
Exhibited in Poster Boy Jane Sanders Art Agent,
Auckland, June 2010.
Meccano Man:Laconic Constructions,
Exhibition at Objectspace, Auckland, 2010.
Poetry Reading, Viva's Auckland 2010.
Performance, 9 Dragon Heads,
Sarajevo, 2006
Flew, performance,
Auckland Art Gallery, March 2006
An Evening of Performance
15-6-2005
Performance image,
9 Dragon Heads, Nelson, 2005
Cherry Blossom and Cockatoo,
Munui, Korea, April 2005.
Digital photographic print from colour
transparency. Ed of 3, 82 x 122 cm.
Exhibited: Borrowed Scenery,
Corridor, Parked Megafauna, 2005.
C-type print, 105 x 155 cm.
Exhibited: NatureCulture,2005/2006
Rose r = a cos(1/3) θ,
Picket fencing, dowelling
and wood. 870 x 1040 x 210 mm
Exhibited: Burial at Sea for a Lost Elegance. 2004.
Detail - Meccano Square (5x5) .
Limited Edition 100% NZ wool rug by Dilana.
Launched at Still Life, group show.
Lace Pavilion for the Village Green Park,
Te Atatu,Auckland, NZ 2002
Copper Moa, Drawings on Micaground
and black gesso on paper. (oil stick, oil
pastel, pencil, paint marker & graphite),
66 x 100.5 cm, exhibited
A Moa, A Math, A Mount, Auckland 2002
The Naming of the Parts
(The Auckland War Memorial
Museum) : A Natural History. 1987-2000.
Colour Photographs, Auckland Triennial. 2001.
Participate in Eden Arts, Mt Eden, Auckland.
Development Drawing
for Requiem for Electronic Moa. 1999
Towards an Hyper-Feral Art
Aotearoa: Picketing the Sublime;
given both a Blue Displacement
and an Illuminating Vessel.
May-Aug 1997. Auckland Art Gallery.
Towards a Feral Art, Aotearoa: Picketing
the Sublime, given both a cataract and
a prospect of impalement.
Art Now, Wellington. 1994
Pink and White Terraces
Elam, Auckland 1993
Towards an hyper-feral art,
Aotearoa:zero impact;
despite both a predatory nature
and uncertain conversation
with the Heidelberg School.
Cibachrome,1993
From Towards a Keplerian Ecology,
Version 11. Artspace 1993
A Cartesian Stoppage, photograph.
United Masters exhibition 1990.
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