CRITICAL ESSAYS, ART WRITING, CATALOGUE TEXTS
Text for Carly Fischer's exhibition Temporary Structures
[A catalogue essay accompanying Carly Fischer's solo exhibition Temporary Structures that also addresses the activation of the work by sound artist Edwina Stevens on July 24. at Naarm artist-run space HAIR, 9-24 July 2026.] LINK.
“Sunlight is an error of clarity,” listening to Alexander Hamilton’s How far is it if you only think it
[A catalogue essay for Alex Hamilton's solo exhibition at Magma Galleries, November 2024.] LINK.
[I wrote a curatorial text to frame Jennifer Callaway's experimental radiophonic feature NO GROUND, which I commissioned for the Radia Network, Season 49, January 2023.]
there is only here and now, and light.
[liner notes / catalogue text for Andrei Tarkovsky - Another Kind Of Language various artists 3 CD set + 20 page booklet, and/Oar, released 18 October 2015.] LINK
somewhere inside the future of this room, a piano has stopped to listen.
[A catalogue essay accompanying Anya Sinclair, Escape Prism, solo artist site-specific exhibition in Olveston Historic Home, Dunedin, 5-14 June, 2015.]
[liner notes / catalogue text for Andrei Tarkovsky - Another Kind Of Language various artists 3 CD set + 20 page booklet, and/Oar, released 18 October 2015.] LINK
somewhere inside the future of this room, a piano has stopped to listen.
[A catalogue essay accompanying Anya Sinclair, Escape Prism, solo artist site-specific exhibition in Olveston Historic Home, Dunedin, 5-14 June, 2015.]
an archive ground down, beneath hearing. Sam Longmore's Memorials to Active Listening 2013-2014.
[A catalogue text accompanying I Hear, exhibition by Sam Longmore at The Audio Foundation, Auckland, 5-26 June 2014. re-published in Soundbleed magazine.]
[A catalogue text accompanying I Hear, exhibition by Sam Longmore at The Audio Foundation, Auckland, 5-26 June 2014. re-published in Soundbleed magazine.]
Wings Caught in the Tears of the Pool, Kim Pieters at Bowen Galleries
[Dunedin painter Kim Pieters' exhibition Wings Caught in the Tears of The Pool was exhibited at Bowen Galleries, Wellington, from 8 - 27 September 2008. all of the paintings' titles were taken by Kim from poems written by me, and were also exhibited with an appropriately poetic, non-explicatory catalogue text I wrote for the show.] LINK
[Dunedin painter Kim Pieters' exhibition Wings Caught in the Tears of The Pool was exhibited at Bowen Galleries, Wellington, from 8 - 27 September 2008. all of the paintings' titles were taken by Kim from poems written by me, and were also exhibited with an appropriately poetic, non-explicatory catalogue text I wrote for the show.] LINK
seven days of seeing. the archive and the instant in Drifting Observatories.
[A catalogue essay for multi-venue vernacular photographic project Drifting Observatories by Margot Didsbury and Fiona Connor. Catalogue published as Drifting Observatories:photos taken from around the world from the 7th-14th November 2005. exhibited at rm103, Auckland, and the Blue Oyster Art Project Space, Dunedin, February-March 2006.]
here, where streets seem short term ideas. Ina Johann's relational visual spaces.
[A catalogue text for sculptural and graphic artist Ina Johann's work in the group exhibition GPS, at the Centre of Contemporary Art (CoCA), Christchurch, and Randolph Street Gallery, Auckland, 2005. the essay can be read via Johann's website.] LINK
i will make time to write a response to a show
here, where streets seem short term ideas. Ina Johann's relational visual spaces.
[A catalogue text for sculptural and graphic artist Ina Johann's work in the group exhibition GPS, at the Centre of Contemporary Art (CoCA), Christchurch, and Randolph Street Gallery, Auckland, 2005. the essay can be read via Johann's website.] LINK
i will make time to write a response to a show
[a catalogue text written for an exhibition at SHOW, an artist-run project space in central Wellington run from 2004-2006 by Jenny Gillam and Eugene Hansen. SHOW was described as having "a focus on exhibiting projects by artists who have established experimental, conceptual and research-based practices." The instructions for the act of writing this particular text were equally procedural: that it must be completed while invigilating the gallery.] LINK
REVIEWS
[review of the exhibition Sound Full: Sound in Contemporary Australian and New Zealand Art, curated by Caleb Kelly, at the
Dunedin Public Art Gallery, for Realtime issue 111,
2012.]
the weight of a feather in 1907
[An essay originally commissioned by the Sonic Arts Research Unit (SARU) for the 2023 Audiograft festival, now hosted on SARU's website. A sideways textual supplement to my audio art work engaging with the legacies of the life and New Zealand expeditions of 19th Century Austrian bird collector Andreas Reischek, it conflates aspects of his biography with ficto-critical spaces.]
acknowledged as detail, repeating in place: notes for an audio-visual-textual collaboration
from Mini FM to Hacktivists: a guide to art and activism
[review of exhibition From Mini FM to Hacktivists curated by Mercedes Vicente at The Govett-Brewster Art
Gallery, New Plymouth, for Flash Art International #247,
March-April 2006.]
CRITICAL ESSAYS ON MY OWN WORK (SELECTED)
Listening to the huia: Ancestrality, questions of scale and temporalities beyond the human.
[catalogue text for my exhibition Post-extinction huia soundings, Te Whanganui-a-Tara 1912-1924 (moments of history torn away from the movement of history, then returned; no longer quite life, not yet death) at The Pyramid Club, Wellington, 24 June - 29 July, 2023.
the entire catalogue, with the essay included alongside other texts by myself, Emily MacAvan, Campbell Walker and Johnny Chang is available to read on The Pyramid Club's website.] LINK.
the weight of a feather in 1907
[An essay originally commissioned by the Sonic Arts Research Unit (SARU) for the 2023 Audiograft festival, now hosted on SARU's website. A sideways textual supplement to my audio art work engaging with the legacies of the life and New Zealand expeditions of 19th Century Austrian bird collector Andreas Reischek, it conflates aspects of his biography with ficto-critical spaces.]
acknowledged as detail, repeating in place: notes for an audio-visual-textual collaboration
[In 2005 I collaborated with Christchurch-based, German-born artist Ina Johann on an experimental video work using a poetic text of mine, a centre positioned. night and train, for which i edited a sound piece incorporating my reading of the text and in-camera mic audio from Johann's footage. my essay about the project's methodologies and initial showing in The Physics Room Contemporary Art Space's public art site The Kiosk (22 November - 19 December, 2005) is reprinted at the above link, and also viewable on their website, here. The poem originally published in Aught, issue 8, 2002.]
short essay on rotate your state for Radio Kiosk
[impressions of a radio show i hosted on student radio station RDU98.3FM in the late 1990s - early 2000s. written for a mini-FM artist project by ((ethermap (Zita Joyce and Adam Willetts), installed at Christchurch public art site The Kiosk, administered by project space The Physics Room. Published June 2006.]
[impressions of a radio show i hosted on student radio station RDU98.3FM in the late 1990s - early 2000s. written for a mini-FM artist project by ((ethermap (Zita Joyce and Adam Willetts), installed at Christchurch public art site The Kiosk, administered by project space The Physics Room. Published June 2006.]
POETRY AND RELATED CREATIVE TEXTS
A FULL LIST (AND READING COPIES) OF ALL POETRY PUBLICATIONS (1996-) CAN BE FOUND OVER AT SISTER BLOG: A GAP INVISIBLE IN THE PHOTOGRAPH.