http://www.dspace.cam.ac.uk:80/handle/1810/183662 University Computing Service Photography and Illustration Service Wed, 19 Jun 2013 10:04:25 GMT 2013-06-19T10:04:25Z http://www.dspace.cam.ac.uk:80/retrieve/347351/pandislogo.jpg http://www.dspace.cam.ac.uk:80/handle/1810/183662 http://www.dspace.cam.ac.uk:80/handle/1810/183855 Title: Beaten Authors: Raymond, Rosanna Abstract: Rosanna Raymond is a performance/ installation/body adornment artist and writer. A New Zealand-born Pacific Islander of Samoan descent, she is currently living and working in London with her family. A founding member of the acclaimed Pacific Sisters performance art collective in New Zealand. A ‘Tusitala’ or storyteller at heart, Raymond’s work takes a variety of forms ranging from installation works to spoken word to body adornment, with pieces held in gallery, museum and private collections around the world. She has forged a role over the past fifteen years as a producer and commentator on contemporary urban Pacific Island culture, fusing traditional practises with modern innovations and techniques. Raymond specialises in customising the images with her own drawings that tell stories of the work. Description: FABRA-KEI-SKIN, 2004. Photography: Kerry Brown; Digital manipulation: Matt Barron; Conception, drawings, body adornment: Rosanna Raymond. Tapa cloths courtesy of Liverpool Museum collections. Tue, 30 Jan 2007 11:40:20 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183855 2007-01-30T11:40:20Z http://www.dspace.cam.ac.uk:80/handle/1810/183854 Title: Twisted Authors: Raymond, Rosanna Abstract: Rosanna Raymond is a performance/ installation/body adornment artist and writer. A New Zealand-born Pacific Islander of Samoan descent, she is currently living and working in London with her family. A founding member of the acclaimed Pacific Sisters performance art collective in New Zealand. A ‘Tusitala’ or storyteller at heart, Raymond’s work takes a variety of forms ranging from installation works to spoken word to body adornment, with pieces held in gallery, museum and private collections around the world. She has forged a role over the past fifteen years as a producer and commentator on contemporary urban Pacific Island culture, fusing traditional practises with modern innovations and techniques. Raymond specialises in customising the images with her own drawings that tell stories of the work. Description: FABRA-KEI-SKIN, 2004. Photography: Kerry Brown; Digital manipulation: Matt Barron; Conception, drawings, body adornment: Rosanna Raymond. Tapa cloths courtesy of Liverpool Museum collections. Tue, 30 Jan 2007 11:40:18 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183854 2007-01-30T11:40:18Z http://www.dspace.cam.ac.uk:80/handle/1810/183853 Title: Flowing Authors: Raymond, Rosanna Abstract: Rosanna Raymond is a performance/ installation/body adornment artist and writer. A New Zealand-born Pacific Islander of Samoan descent, she is currently living and working in London with her family. A founding member of the acclaimed Pacific Sisters performance art collective in New Zealand. A ‘Tusitala’ or storyteller at heart, Raymond’s work takes a variety of forms ranging from installation works to spoken word to body adornment, with pieces held in gallery, museum and private collections around the world. She has forged a role over the past fifteen years as a producer and commentator on contemporary urban Pacific Island culture, fusing traditional practises with modern innovations and techniques. Raymond specialises in customising the images with her own drawings that tell stories of the work. Description: FABRA-KEI-SKIN, 2004. Photography: Kerry Brown; Digital manipulation: Matt Barron; conception, drawings, body adornment: Rosanna Raymond. Tapa cloths courtesy of Liverpool Museum collections. Tue, 30 Jan 2007 11:40:15 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183853 2007-01-30T11:40:15Z http://www.dspace.cam.ac.uk:80/handle/1810/183852 Title: In a Tusk Far Far Away Authors: Raymond, Rosanna Abstract: Rosanna Raymond is a performance/ installation/body adornment artist and writer. A New Zealand-born Pacific Islander of Samoan descent, she is currently living and working in London with her family. A founding member of the acclaimed Pacific Sisters performance art collective in New Zealand. A ‘Tusitala’ or storyteller at heart, Raymond’s work takes a variety of forms ranging from installation works to spoken word to body adornment, with pieces held in gallery, museum and private collections around the world. She has forged a role over the past fifteen years as a producer and commentator on contemporary urban Pacific Island culture, fusing traditional practises with modern innovations and techniques. Raymond specialises in customising the images with her own drawings that tell stories of the work. Description: Keryn Jones: Ngai Takoto/Te Aupouri/ Nga Puhi. Neck piece of coconut disk, pounamu (jade), pig tusk, ribbon, shell. TUSKS AND FEVERS, 2006. Photography: Kerry Brown; conception, drawings, body adornment: Rosanna Raymond Tue, 30 Jan 2007 11:40:12 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183852 2007-01-30T11:40:12Z http://www.dspace.cam.ac.uk:80/handle/1810/183851 Title: One eye on the tusk Authors: Raymond, Rosanna Abstract: Rosanna Raymond is a performance/ installation/body adornment artist and writer. A New Zealand-born Pacific Islander of Samoan descent, she is currently living and working in London with her family. A founding member of the acclaimed Pacific Sisters performance art collective in New Zealand. A ‘Tusitala’ or storyteller at heart, Raymond’s work takes a variety of forms ranging from installation works to spoken word to body adornment, with pieces held in gallery, museum and private collections around the world. She has forged a role over the past fifteen years as a producer and commentator on contemporary urban Pacific Island culture, fusing traditional practises with modern innovations and techniques. Raymond specialises in customising the images with her own drawings that tell stories of the work. Description: Tiare Tito: Te Aupouri/NgaPuhi/Ngati Wharetoa/ Rarotonga. Neck piece of coconut disk Tupe seed. TUSKS AND FEVERS, 2006. Photography: Kerry Brown; conception, drawings, body adornment: Rosanna Raymond. Tue, 30 Jan 2007 11:40:09 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183851 2007-01-30T11:40:09Z http://www.dspace.cam.ac.uk:80/handle/1810/183850 Title: Tusk if you musk Authors: Raymond, Rosanna Abstract: Rosanna Raymond is a performance/ installation/body adornment artist and writer. A New Zealand-born Pacific Islander of Samoan descent, she is currently living and working in London with her family. A founding member of the acclaimed Pacific Sisters performance art collective in New Zealand. A ‘Tusitala’ or storyteller at heart, Raymond’s work takes a variety of forms ranging from installation works to spoken word to body adornment, with pieces held in gallery, museum and private collections around the world. She has forged a role over the past fifteen years as a producer and commentator on contemporary urban Pacific Island culture, fusing traditional practises with modern innovations and techniques. Raymond specialises in customising the images with her own drawings that tell stories of the work. Description: Taimanaia Jones: Ngai Takoto/Te Aupouri/ Nga Puhi. Neck piece, pig tusk, plastic raffia hula skirt. TUSKS AND FEVERS, 2006. Photography: Kerry Brown; conception, drawings, body adornment: Rosanna Raymond. Tue, 30 Jan 2007 11:40:06 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183850 2007-01-30T11:40:06Z http://www.dspace.cam.ac.uk:80/handle/1810/183849 Title: Hard tusk to grasp Authors: Raymond, Rosanna Abstract: Rosanna Raymond is a performance/ installation/body adornment artist and writer. A New Zealand-born Pacific Islander of Samoan descent, she is currently living and working in London with her family. A founding member of the acclaimed Pacific Sisters performance art collective in New Zealand. A ‘Tusitala’ or storyteller at heart, Raymond’s work takes a variety of forms ranging from installation works to spoken word to body adornment, with pieces held in gallery, museum and private collections around the world. She has forged a role over the past fifteen years as a producer and commentator on contemporary urban Pacific Island culture, fusing traditional practises with modern innovations and techniques. Raymond specialises in customising the images with her own drawings that tell stories of the work. Description: Keryn Jones: Ngai Takoto/Te Aupouri/ Nga Puhi. Neck piece of coconut, pounamu (jade), pig tusk, ribbon, shell. TUSKS AND FEVERS, 2006. Photography: Kerry Brown; conception, drawings, body adornment: Rosanna Raymond. Tue, 30 Jan 2007 11:40:04 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183849 2007-01-30T11:40:04Z http://www.dspace.cam.ac.uk:80/handle/1810/183848 Title: South, image 1 Authors: Pinker, James Abstract: James Pinker is a sound and multimedia artist living in Auckland. His work in this exhibition is from a collaboration with English artist Mark McClean. South is a photographic project that features images made in a portable studio in Otara, South Auckland in 2003. Over a period of two days they randomly asked passers-by to be photographed. South has been shown at Te Tuhi gallery, Auckland and at the Ivan Docherty Gallery in NSW, Australia. Description: "It is very rare to do a snapshot of a community in a positive way. We came up with the idea when eating fish and chips in Otara. This is the community that wandered past on those days; we didn't include or exclude anyone. We wanted to focus on the actual people, the positive". - James Pinker, 2005. Tue, 30 Jan 2007 11:40:01 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183848 2007-01-30T11:40:01Z http://www.dspace.cam.ac.uk:80/handle/1810/183847 Title: South, image 2 Authors: Pinker, James Abstract: James Pinker is a sound and multimedia artist living in Auckland. His work in this exhibition is from a collaboration with English artist Mark McClean. South is a photographic project that features images made in a portable studio in Otara, South Auckland in 2003. Over a period of two days they randomly asked passers-by to be photographed. South has been shown at Te Tuhi gallery, Auckland and at the Ivan Docherty Gallery in NSW, Australia. Description: "It is very rare to do a snapshot of a community in a positive way. We came up with the idea when eating fish and chips in Otara. This is the community that wandered past on those days; we didn't include or exclude anyone. We wanted to focus on the actual people, the positive". - James Pinker, 2005. Tue, 30 Jan 2007 11:39:59 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183847 2007-01-30T11:39:59Z http://www.dspace.cam.ac.uk:80/handle/1810/183846 Title: South, image 3 Authors: Pinker, James Abstract: James Pinker is a sound and multimedia artist living in Auckland. His work in this exhibition is from a collaboration with English artist Mark McClean. South is a photographic project that features images made in a portable studio in Otara, South Auckland in 2003. Over a period of two days they randomly asked passers-by to be photographed. South has been shown at Te Tuhi gallery, Auckland and at the Ivan Docherty Gallery in NSW, Australia. Description: "It is very rare to do a snapshot of a community in a positive way. We came up with the idea when eating fish and chips in Otara. This is the community that wandered past on those days; we didn't include or exclude anyone. We wanted to focus on the actual people, the positive". - James Pinker, 2005. Tue, 30 Jan 2007 11:39:56 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183846 2007-01-30T11:39:56Z http://www.dspace.cam.ac.uk:80/handle/1810/183845 Title: South, image 4 Authors: Pinker, James Abstract: James Pinker is a sound and multimedia artist living in Auckland. His work in this exhibition is from a collaboration with English artist Mark McClean. South is a photographic project that features images made in a portable studio in Otara, South Auckland in 2003. Over a period of two days they randomly asked passers-by to be photographed. South has been shown at Te Tuhi gallery, Auckland and at the Ivan Docherty Gallery in NSW, Australia. Description: "It is very rare to do a snapshot of a community in a positive way. We came up with the idea when eating fish and chips in Otara. This is the community that wandered past on those days; we didn't include or exclude anyone. We wanted to focus on the actual people, the positive". - James Pinker, 2005. Tue, 30 Jan 2007 11:39:53 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183845 2007-01-30T11:39:53Z http://www.dspace.cam.ac.uk:80/handle/1810/183844 Title: Greg Semu (2005) Authors: Semu, Greg Abstract: Greg Semu first entered the world of photography in 1990. His first solo show was in 1995 for the Auckland Art Gallery, New Zealand. Since then, his photographs have been exhibited internationally and are now held in private and public collections in Germany, France, Australia and New Zealand. He has consistently and provocatively explored issues surrounding the religious colonisation of indigenous peoples in the Pacific. Tue, 30 Jan 2007 11:39:51 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183844 2007-01-30T11:39:51Z http://www.dspace.cam.ac.uk:80/handle/1810/183843 Title: Queen Tawhiao Tree Authors: Tawhiao, Tracy Abstract: Tracey Tawhiao is a writer, poet and trained lawyer, as well as a painter and visual artist. This voice is central to her practice in whatever form she chooses for expression. Tawhiao is of the Ngai Te Rangi iwi or tribe from Matakana Island, New Zealand, and Tuwharetoa, Taumaranui as well as Whakatohea. It was when she spent considerable time on the island that she started her newspaper paintings that now cover the walls of many peoples’ homes. She is a Director of The House of Taonga, a Maori artist house of thought and creative endeavour for the fostering of Maori Art. Description: “These paintings find the news beyond the newspaper.” Tue, 30 Jan 2007 11:39:48 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183843 2007-01-30T11:39:48Z http://www.dspace.cam.ac.uk:80/handle/1810/183842 Title: Queen Tawhiao Sea Authors: Tawhiao, Tracy Abstract: Tracey Tawhiao is a writer, poet and trained lawyer, as well as a painter and visual artist. This voice is central to her practice in whatever form she chooses for expression. Tawhiao is of the Ngai Te Rangi iwi or tribe from Matakana Island, New Zealand, and Tuwharetoa, Taumaranui as well as Whakatohea. It was when she spent considerable time on the island that she started her newspaper paintings that now cover the walls of many peoples’ homes. She is a Director of The House of Taonga, a Maori artist house of thought and creative endeavour for the fostering of Maori Art. Description: “These paintings find the news beyond the newspaper.” Tue, 30 Jan 2007 11:39:45 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183842 2007-01-30T11:39:45Z http://www.dspace.cam.ac.uk:80/handle/1810/183841 Title: Queen Tawhiao Breath Authors: Tawhiao, Tracy Abstract: Tracey Tawhiao is a writer, poet and trained lawyer, as well as a painter and visual artist. This voice is central to her practice in whatever form she chooses for expression. Tawhiao is of the Ngai Te Rangi iwi or tribe from Matakana Island, New Zealand, and Tuwharetoa, Taumaranui as well as Whakatohea. It was when she spent considerable time on the island that she started her newspaper paintings that now cover the walls of many peoples’ homes. She is a Director of The House of Taonga, a Maori artist house of thought and creative endeavour for the fostering of Maori Art. Description: “These paintings find the news beyond the newspaper.” Tue, 30 Jan 2007 11:39:42 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183841 2007-01-30T11:39:42Z http://www.dspace.cam.ac.uk:80/handle/1810/183840 Title: Queen Tawhiao London Authors: Tawhiao, Tracy Abstract: Tracey Tawhiao is a writer, poet and trained lawyer, as well as a painter and visual artist. This voice is central to her practice in whatever form she chooses for expression. Tawhiao is of the Ngai Te Rangi iwi or tribe from Matakana Island, New Zealand, and Tuwharetoa, Taumaranui as well as Whakatohea. It was when she spent considerable time on the island that she started her newspaper paintings that now cover the walls of many peoples’ homes. She is a Director of The House of Taonga, a Maori artist house of thought and creative endeavour for the fostering of Maori Art. Description: “These paintings find the news beyond the newspaper.” Tue, 30 Jan 2007 11:39:40 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183840 2007-01-30T11:39:40Z http://www.dspace.cam.ac.uk:80/handle/1810/183839 Title: Souvenir scarf, 2003 Authors: Robertson, Natalie Abstract: Natalie Robertson (Ngati Porou/Clan Donnachaidh) is a photomedia artist and educator. Her work has been exhibited in public institutions throughout Australasia and internationally over the past decade. Descended from the Ngati Porou iwi or tribe, Robertson is a trustee and acts as a kaitiaki (guardian) of Maori land blocks on the East Coast of New Zealand, a role she has inherited from her grandfather, David Hughes. Robertson’s work is held in many significant public collections including the Museum of New Zealand Te Papa Tongarewa and the Auckland City Art Gallery. She is Programme Co-ordinator of Maori Art and Design in the Faculty of Maori Development, Te Ara Poutama and the School of Art and Design at Auckland University of Technology in Auckland, New Zealand, teaching on the Master of Arts (Visual) in the School of Art and Design. Description: “For this series, I sourced a number of vintage satin and polyester scarves that depict maps of New Zealand, cultural motifs, artifacts, flora and fauna, from op-shops, Mum’s cupboard, aunties and discerning collectors of kitsch. My aim was to transform them from decorative yet functional items into framed photographic images, therefore reconfiguring these familiar items beyond their domestic and sartorial applications. The photographs restore the scarves to a position of artifact and reinforce the shonky mapping characteristics. Dating from mid-20th century they recall journeys and holiday destinations or the travels of relatives who have sent these easily-transported souvenirs. For me, the scarves present a conundrum - that of blatant cultural appropriation and insensitivities, coupled with luscious kitschness.” - Natalie Robertson, 2006. Tue, 30 Jan 2007 11:39:37 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183839 2007-01-30T11:39:37Z http://www.dspace.cam.ac.uk:80/handle/1810/183838 Title: Souvenir scarf, 2003 Authors: Robertson, Natalie Abstract: Natalie Robertson (Ngati Porou/Clan Donnachaidh) is a photomedia artist and educator. Her work has been exhibited in public institutions throughout Australasia and internationally over the past decade. Descended from the Ngati Porou iwi or tribe, Robertson is a trustee and acts as a kaitiaki (guardian) of Maori land blocks on the East Coast of New Zealand, a role she has inherited from her grandfather, David Hughes. Robertson’s work is held in many significant public collections including the Museum of New Zealand Te Papa Tongarewa and the Auckland City Art Gallery. She is Programme Co-ordinator of Maori Art and Design in the Faculty of Maori Development, Te Ara Poutama and the School of Art and Design at Auckland University of Technology in Auckland, New Zealand, teaching on the Master of Arts (Visual) in the School of Art and Design. Description: “For this series, I sourced a number of vintage satin and polyester scarves that depict maps of New Zealand, cultural motifs, artifacts, flora and fauna, from op-shops, Mum’s cupboard, aunties and discerning collectors of kitsch. My aim was to transform them from decorative yet functional items into framed photographic images, therefore reconfiguring these familiar items beyond their domestic and sartorial applications. The photographs restore the scarves to a position of artifact and reinforce the shonky mapping characteristics. Dating from mid-20th century they recall journeys and holiday destinations or the travels of relatives who have sent these easily-transported souvenirs. For me, the scarves present a conundrum - that of blatant cultural appropriation and insensitivities, coupled with luscious kitschness.” - Natalie Robertson, 2006. Tue, 30 Jan 2007 11:39:34 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183838 2007-01-30T11:39:34Z http://www.dspace.cam.ac.uk:80/handle/1810/183837 Title: Souvenir scarf, 2003 Authors: Robertson, Natalie Abstract: Natalie Robertson (Ngati Porou/Clan Donnachaidh) is a photomedia artist and educator. Her work has been exhibited in public institutions throughout Australasia and internationally over the past decade. Descended from the Ngati Porou iwi or tribe, Robertson is a trustee and acts as a kaitiaki (guardian) of Maori land blocks on the East Coast of New Zealand, a role she has inherited from her grandfather, David Hughes. Robertson’s work is held in many significant public collections including the Museum of New Zealand Te Papa Tongarewa and the Auckland City Art Gallery. She is Programme Co-ordinator of Maori Art and Design in the Faculty of Maori Development, Te Ara Poutama and the School of Art and Design at Auckland University of Technology in Auckland, New Zealand, teaching on the Master of Arts (Visual) in the School of Art and Design. Description: “For this series, I sourced a number of vintage satin and polyester scarves that depict maps of New Zealand, cultural motifs, artifacts, flora and fauna, from op-shops, Mum’s cupboard, aunties and discerning collectors of kitsch. My aim was to transform them from decorative yet functional items into framed photographic images, therefore reconfiguring these familiar items beyond their domestic and sartorial applications. The photographs restore the scarves to a position of artifact and reinforce the shonky mapping characteristics. Dating from mid-20th century they recall journeys and holiday destinations or the travels of relatives who have sent these easily-transported souvenirs. For me, the scarves present a conundrum - that of blatant cultural appropriation and insensitivities, coupled with luscious kitschness.” - Natalie Robertson, 2006. Tue, 30 Jan 2007 11:39:32 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183837 2007-01-30T11:39:32Z http://www.dspace.cam.ac.uk:80/handle/1810/183836 Title: Souvenir scarf, 2003 Authors: Robertson, Natalie Abstract: Natalie Robertson (Ngati Porou/Clan Donnachaidh) is a photomedia artist and educator. Her work has been exhibited in public institutions throughout Australasia and internationally over the past decade. Descended from the Ngati Porou iwi or tribe, Robertson is a trustee and acts as a kaitiaki (guardian) of Maori land blocks on the East Coast of New Zealand, a role she has inherited from her grandfather, David Hughes. Robertson’s work is held in many significant public collections including the Museum of New Zealand Te Papa Tongarewa and the Auckland City Art Gallery. She is Programme Co-ordinator of Maori Art and Design in the Faculty of Maori Development, Te Ara Poutama and the School of Art and Design at Auckland University of Technology in Auckland, New Zealand, teaching on the Master of Arts (Visual) in the School of Art and Design. Description: “For this series, I sourced a number of vintage satin and polyester scarves that depict maps of New Zealand, cultural motifs, artifacts, flora and fauna, from op-shops, Mum’s cupboard, aunties and discerning collectors of kitsch. My aim was to transform them from decorative yet functional items into framed photographic images, therefore reconfiguring these familiar items beyond their domestic and sartorial applications. The photographs restore the scarves to a position of artifact and reinforce the shonky mapping characteristics. Dating from mid-20th century they recall journeys and holiday destinations or the travels of relatives who have sent these easily-transported souvenirs. For me, the scarves present a conundrum - that of blatant cultural appropriation and insensitivities, coupled with luscious kitschness.” - Natalie Robertson, 2006. Tue, 30 Jan 2007 11:39:29 GMT http://www.dspace.cam.ac.uk:80/handle/1810/183836 2007-01-30T11:39:29Z