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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.

KateBartlettPhotography@gmail.com027 635 1969

ROCHELLE DENT

missdent23@hotmail.com021 065 1370

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JULIA FERRIER

Constructed Portraiture.

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

extension of the body.

julia_ferrier@hotmail.com021 847 662

AMANDA ELLIOTT

amanda.m_elliott@hotmail.com027 331 0846

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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.

taraheeranharris@gmail.com027 304 0553

MEL HENDERSON

Larger than life.

melaniejhenderson@gmail.com027 547 6512

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RUTH HOCKIN

ruthhockin@hotmail.com027 206 7779

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LEANA KEEN

Neverland – Putaruru series

A journey of memory, magic and adventure.

leanakeen@gmail.com027 408 0033

EMMA KOTSAPAS

Emma@aol.co.nz027 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.

www.murraylloyd.commurray@murraylloyd.com

(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.

AnnaLawrencePhotography@gmail.com027 664 9527

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SAMANTHA LOWNDES

sam_lowndes@hotmail.com027 440 4769

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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.

Lucyjbhughes@gmail.com027 416 5089

SARAH MACDONALD

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

www.sarahmac.co.nzSarah.mac85@gmail.com027 406 3733

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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.

lucymcleanphotography@gmail.com027 421 2575

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

jess_michels@hotmail.com027 464 4148

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ROCHELLE PEPPER

Blood & Water

rochelle.pepper@gmail.com

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.

Mizuho.Nishioka.1@uni.massey.ac.nz

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TIM SEARLE

timsearle@gmail.com 027 306 9947

JESSICA SHERLOCK

Eva Strangelove, burlesque dancer.

savagaendruin@hotmail.com 027 424 4848

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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

amy_sisson@hotmail.com 027 316 5534

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ALICE SKINNER

In-between Places.

alice.skinner@gmail.com 027 698 8481

NINA VAN DER VOORN

nvandervoorn@gmail.com 027 345 0357

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ALISCIA YOUNG

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

alisciayoung@gmail.com

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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.

Debaleigh2@hotmail.com021 170 3334

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

catherinebcaudwell@gmail.com021 904 584

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GEMMA DUNCAN

Hanging Hill 2008

gemma.duncan@hotmail.comwww.gemma.duncan.com

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.

kedge.nz@gmail.com021 111 7141

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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.

waimatao@gmail.com027 216 8039

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.

hannahe21@hotmail.com021 063 9463

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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.

lara_hewald@yahoo.co.nz027 212 6792

SARAH PETI SIAN HUDSON

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

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

s.hudson@inbox.com

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JOHNATHON TITHERIDGE

Time-Based

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

j.titheridge@windowslive.com027 408 1593

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.

philippa.mallinson@gmail.com027 469 9702

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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”.

keilamartin@gmail.com021 123 8976

MARG ROBINSON

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

rodday@gmail.com021 189 6930

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SHANE MCGRATH

Regressive Action No.1

mcgrathshane@hotmail.com

CHRISTINA OLDFIELD

David MairPhotomedia

Spatial ResidencesContextual Studio

christinamicheleoldfi eld@gmail.com

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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.

bec_rait@hotmail.com021 620 753

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.

nataliakparras@clear.net.nz027 444 6687

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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.

kristin.vanderpoel@mail.com027 306 9750

SAMANTHA WALLIS

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

sammy_wallis@hotmail.com 027 330 0932

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ANA WHITLOW

2E0.6 (detail)

ana_whitlow@yahoo.co.nz

JANE WILCOX

j.wilcox@massey.ac.nz 027 315 1437