Exposure 2007

CONTENTS

04 Pro Vice-Chancellor

06 Institute of Design for Industry and Environment

08 Fashion Design

20 Textile Design

30 Industrial Design

46 Spatial Design

52 Performance Design

56 Institute of Communication Design

58 Advertising Design

66 Digital Design

73 Graphic Design

98 Illustration Design

106 School of Fine Arts

108 Photographic Design

121 Diploma in Photography

123 Fine Arts

136 Postgraduate Studies in the College of Creative Arts

PRO VICE-CHANCELLOR

5

Welcome to Exposure 07, the publication

of our annual graduation show, which is

now part of the College of Creative Arts

Festival: Blow, Nga hau e wha.

Just as the Royal College of Art describes

itself as a ‘very special ideas factory’,

so too can we at Massey’s College of

Creative Arts. We have been at the

creative heart of Wellington, and indeed

the nation, for 122 years, and have been

impacting on the cultural and economic

well-being of New Zealand through our

innovative thinking ever since.

Known variously as the Wellington School

of Design and as the Wellington School

of Art, we have produced some of the

country’s best respected artists and

designers. Now, as Massey’s College of

Creative Arts, based in Wellington and

Auckland, we continue to produce

world-class graduates in art and design.

Many of these have been instrumental in

shaping New Zealand’s national identity

through iconic imagery, or contributing to

its economic growth through the creation

of original and desirable designs.

Our alumni include proven leaders in

New Zealand’s creative and cultural

industries: Kate Sylvester, Richard Taylor,

Len Lye, Gordon Walters, Judy Darragh

and Mark Pennington are all our

ex-students and all have touched the

lives of New Zealanders through creating

the clothes we wear, the fi lms we watch,

the furniture and household articles we

buy, and the images that represent us

and our unique culture to the world.

Ground breaking creations such as the

Fisher and Paykel Dish Drawer, the Apple

iMac, Formway’s ‘Life Chair’, the digital

animations of ‘Lord of the Rings’, all came

about through the work of our alumni.

Recent graduates can be found

in design studios and enterprises across

the country, and indeed across the planet.

Although many of them may not yet be

known to you by name, like the generations

of students who have come through

this extraordinary New Zealand institution

before them, they give shape to the

material world around us in a distinct

and compelling Kiwi manner.

A recent government exercise [called

the PBRF] saw Massey’s School of Design

ranked fi rst in the nation, with the largest

number of participating academics, the

highest quality score, and six of the

country’s eight leading design researchers

based there. In the same exercise the

College’s School of Fine Art’s quality score

of 4.33, when set alongside the 4.30 achieved

by Elam at Auckland University, indicates

that we truly are the best in the country.

Like other world leading design schools

such as the Royal College of Art, ACCD

California, or Rhode Island School of Design

in New York, the College of Creative Arts

has always understood the intimate and

important relationship between fi ne art

and all areas of visual design. We also

understand that a strong arts community

is central to developing national identity

and encouraging an innovative, knowledge

economy. We are pleased to be helping to

build such a community here in Wellington,

the nation’s creative capital.

In this publication we showcase

New Zealand’s artists and designers of

the future taking their fi rst steps out into

the world. Be proud of them – their work

is stunning and they thoroughly deserve

their moment in the sun.

Professor Sally MorganPro Vice-chancellor

INSTITUTE OF DESIGN FORINDUSTRY AND ENVIRONMENT

7

Design for industry and the environment

is of signifi cance to us all. In our increasingly

international consumer orientation society

the ability to transform materials into

desirable and valued objects, places and

spaces is fundamental to our physical,

psychological and economic well-being

and identity. It is also critical for a

sustainable future.

The design disciplines of Fashion, Industrial,

Spatial, Textiles and Performance form

the Institute of Design for Industry and

Environment. Each discipline has its own

values, theory, practise and research culture

that is nurtured and encouraged within the

Institute. There is also rich opportunity for

exchange and exploration between these

disciplines within the Institute and also

beyond into the wider university and

community. Our undergraduate and

postgraduate programmes capitalise

on the research excellence and technical

support of our world-class staff.

The work presented in this year’s publication

illustrates the quality of the Institute. The

outstanding creativity of these graduates,

the inspirational guidance of their

academic teachers and the technical

and administrative support provided by

my colleagues demonstrates our

commitment to design excellence and

innovation. These are key qualities not only

for our graduates and staff but also for our

New Zealand industry and environment

as we make our way in the world.

Congratulations to the students and staff

of the Institute for the achievements of 2007.

I wish all our graduates success and fulfi lment

in their careers.

Professor Tony ParkerHead of Institute IDIE

FASHION DESIGN

Fashion graduands celebrated

the culmination of four years of

fashion design studies with collections

showing immense dedication and

excitement for their discipline

(viewed at http://www.inno-vision.co.nz).

Fashion design outcomes varied from

exploratory exhibition pieces to commer-

cial collections designed for a range

of markets within the fashion industry.

Our students exceeded expectations

in producing highly innovative designs

derived from research, creative design

processes and technical expertise.

A number of students gained success

in national competitions and Massey

University fashion awards: Claire Hacon:

Unity Collection Award for Commercial

Design; Sol Ahn: Purfex Award for Design;

Kiri Kippenberger Pettersen: Gen I Award

for Innovation and Creativity; Shelly Doms:

Rembrandt Award for Excellence; Emma

Little: John Rainger Vilene Award; Kate

Harris: Creative HQ Award for Business.

We congratulate all fashion graduands

of 2007 and thank them for contributing to

the continuing success of our programme.

Deb CummingProgramme Leader Fashion Design

9

SOL AHN

Final Collection the daydreamer

‘the daydreamer’ is a womenswear collection inspired by the multiple faces

of daydreaming, explored from in-depth research on very private phenomena.

The designer has been using fashion as a medium in documenting her private

experience of daydreaming that was tightly woven into her everyday life.

This collection refl ects the mood and the concept of the alternative

realities created while experiencing the subconscious world as opposed to the

conventional and physical world we live.

[email protected] 904 1090 or 027 495 3539

JOEL ARMSTRONG

The central proposition for the project INFAMOUSDESIGNERS.COM is ‘fashion is the control of identity’. Brand marketing today constructs our ideal lifestyle – ‘who we are’.

[email protected] 645 9865

ELISE BRIDSON

Naturally Artifi cial is a womenswear collection, which explores and questions what makes things artifi cial, in particular commenting on the artifi cial and synthetic ideals that surround fashion.


ZOE BUTTERS

A Filtered Life explores the concept of ‘repression’ and

how our minds forget unpleasant events due to their threatening

quality, creating a void/sense of emptiness


11

SAMANTHA CROFT

The fi nal outfi t in a collection that represents the process of

collecting objects of meaning, done to replace something that is missing

(emotionally) from ones life.


ABIGAIL COOMBES

Untitled explores the boundaries of body and dress through

interaction, with infl uences from forensics ‘every contact leaves

a trace’, Japanese design philosophies and men’s tailoring.


SHELLEY DOMS

Faded Lines is a contemporary womenswear collection which gained inspiration from menswear tailoring and 1950s lingerie. A total of eighteen garments (six outfi ts) were produced.


CLAIRE HACON

Fashioning the doll: severely tailored, modeled on the

doll, this collection invents the ideal shape of the body to which all other bodies are

reduced, the mannequin, the model, the doll.


13

KATE GEM HARRIS

IAMKATE is a conceptual representation of ones self through the idea of characterisation and self analysis.


ZOWIE HEYWOOD

Think Inside the Box: No strings attached

An autobiographical, self refl ection through the use of a deconstructed cube,

producing a visual representation of distorted

memories, fragility and self-growth

LOUISE HUTCHINSON

The Neo-Dandy Rocker is infl uenced by contemporary stage

performance costume of the glitter/glam rock, the alter ego and the

ethos of traditional dandyism.

[email protected] 021 079 8339

JESSICA LEPPER

Let Them Eat Cake – a couture women’s wear

collection infl uenced by Marie Antoinette and fused with the power and dominance of the

traditional tailored suit.


15

KERRY ELIZABETH LORD

Shadow Play; a Fashion puppet Collection

Using discarded products of the beauty myth, and a medium of light and shadow, I have designed a womenswear collection that hinders on the theatrical.


EMMA LITTLE

The Exposure EffectSpring Summer 08

A collection that embodies the concept of celebrity worship

and comments on society’s obsession with celebrities.

This obsession has spawned a new commodity – the

consumable celebrity.


CHERYL MACKIE

A collection based on the aesthetic portrayal of death and violence often seen in popular culture and also Victorian society


JULIE MAIN

SOLD OUT is a collection which is focused on the

relationship between a performance and

its audience through audience involvement.


17

BAO NGOC NGUYEN

Similar but Different is an A/W 2009 collection that embodies a modern Vietnamese identity and expresses the co-existence of traditional and modern popular culture in Vietnam.

[email protected] 188 1501 or +84 903 405 991 (Vietnam)

KIRIANA KIPPENBERGER PETTERSEN

The Hidden-Folk A/W 08

A collaboration with the forest & my autistic brother Magnus. “I choose to support the socially awkward, as opposed to pitying these ’changelings’ for their ‘unfortunate condition”.


JOANNA SCHELLKES

Untitled Angst A/W 2009

Combining artists’ techniques of using colour, shape and form, with ‘awkward’ elements of streetwear to illustrate the psychological anxieties humans face.


MIRA STANTON

Space: Dreaming or Reality?

My graduate collection is a portrayal of the experiences of dream-space and real-life

space in relation to my personal dream experiences.


19

BONNIE STEVENSON-WRIGHT

I was inspired by the way a bird builds a nest, collecting objects and constructing it in a way that is environmentally friendly.

[email protected]

ANA VEGAR

Bella Figura

The collection challenges the development of confl icting forces; the idea of the beautiful clashing with its opposite disorder.


JESSICA WELLER

Slices of Kiwiana: A nostalgic view of my New Zealand

A fashion collection of outfi ts that portray a personal identity, a “Kiwi” sense of

nostalgia and kitsch, a collage of what I view as “my New Zealand”.

[email protected]

021 173 2800

TEXTILE DESIGN

Textile design is concerned with

understanding and creating one of

the most intimate and yet public aspects

of the material world. In our unique

programme we encourage exploration

in design and colour, development of

technical knowledge, and digital media

skills for translating textile concepts into

marketable products.

The 2007 Textile Design graduate work

refl ects the students’ sustained

commitment to engage in critical

debates to focus and contextualise

their designs. Along with their broad

skills base and a thorough understanding

of the structure and surface aspects

of textile design, our students are well

prepared for successful careers within

the international arena of textiles.

The students have produced innovative,

contemporary applications and will

contribute to various creative, commer-

cial, cultural and heritage organisations.

Some of the students have already

achieved recognition and outstanding

success in competitions such as the Home

Magazine New Zealand Young Designer

of the Year, World of Wearable Arts and

the Hokonui Fashion Awards. We wish this

group of students well and commend

them on the quality of their achievements.

Sandra HeffernanSubject Leader Textile Design

21

COURTNEY BARBER

“it is not necessary that a self portrait show the face to say something about the individual”


CARLEY BIRD

Textiles inspired by the fast-paced, all-permeating, and excessive nature of consumer culture.


KELLY BORST

This project was based on the relationship between obsessive compulsive hoarding and designers creative collecting.

Materials used includes, washers, nuts, dyed string and curtain hooks.


PHILLIPA COWDREY

Cuttin’ Cowboy Skins is an exciting collection of textiles inspired by romantic Cowboy mythology. Traditional braiding, tooling and leather saddlery techniques are exploited.


23

SHEREE DAVIS

Infl uenced by the tourism imagery of New Zealand, a range of textiles have been developed that question the long standing cultural mythologies of our landscape.

[email protected]

CLARE HESLOP

Silent Spring

Often plants and pollinators respond differently to climate change. These interior textile designs address the issue of pollination timing becoming out of sync.


ELIZABETH KING

A textile exploration questioning contemporary

21st celebrations in a society where turning 21 is no longer the key to unlocking doors to

new experiences.


25

MADELINE MCGREGOR

Exploring the In-Between:

The possibility of reuniting Modernism and ornament. The textile collection exploits lighting effects, considering window treatments and interior partitions as end use products.


ESTHER MIRO BRYANT-LINDSAY

Time Torn Surfaces

Doorways of un-kept space revealing urban abandonment and eroded surfaces, interwoven layers created through the interaction of time and man.


ALEXANDRA MURCOTT

Vulture Kisses is a collection of three fabrics designed to express the complex nature and environment of growing up as a youth in today’s world.

[email protected]+64 21 0279 6320

KATE NEELEY

Emerging Elements

Inspired by forces of nature, thiscollection of woven textile designs features specialised fi nishing processes.


27

JESSICA LEIGH NUTTING

Betty, Joe and Florence

A textile collection exploring curiosity and perception through form, colour and texture inspired by fl ower mimicking praying mantises.


CHARLOTTE STUART

Dancing stills is a collection inspired by the expression and lyrical movement of the classical ballet dancer.

[email protected]

DESA THOMSEN

We Are Sold Unattainable Perfection is a textile-based exploration of women’s portrayal in visual media, to create discussion and thought on its societal effects.


JUSTINE WESTWOOD

Fatal Attraction is inspired by water distilled by light with fl eeting glimpses beneath the surface and emerging fl ickers of fl y-fi shing.

[email protected]

29

LOU YOUNG

A portrayal of the interaction between an individual and fl ora, and a representation of fl owers as multi sensory stimulants.

[email protected]

AMY ZAREEI

A textile collection inspired by the television test-screen pattern and the childhood threat that I would get ‘square eyes’.

[email protected]

INDUSTRIAL DESIGN

Design is about creating pleasurable,

desirable and meaningful experiences

for people. The contribution of industrial

design is multi-facetted. The economic

and societal value of being able to offer

the market products that meet utilitarian

as well as emotional needs cannot be

underestimated. This needs to be done

with care, respect and consideration to

others, to our planet, and to our future.

Our graduates increasingly show that they

are thoroughly prepared for successful

careers as industrial designers. The

fantastic turnout at the BeST awards 2007

– eight of the 12 student fi nalists were

from Massey, seven of those Wellington

graduates, was excellent proof of their

abilities. Projects by our students show

a profound level of innovativeness

and original thought grounded in solid

research. They refl ect their ability to

understand and inquire into novel

contexts of use and to transform ideas

into relevant, innovative and exciting

products. Students’ work also exhibits

a high level of awareness and sensibility

to aesthetics, meaning and value for

the intended user and market.

We congratulate our industrial design

graduates for their outstanding achieve-

ments as they enter the world with the

privilege and responsibility of shaping our

futures in the most infl uential of ways: by

creating products that surprise, delight

and enhance our everyday experiences.

Associate Professor Anders WarellSubject Leader Industrial Design

31

MATHEW AJU

This project utilized industrial design processes and methodologies in order to adapt the literary work, Dune : The Butlerian Jihad, for fi lm production.

CLAIRE ATKINSON

Thinking outside the box

An educational learning product that utilises multi-touch technology to maximise social interaction within the classroom.


TESSA BAILEY-LONT

Dancefl oor Interactive Illuminated Portable

Imagine the feeling of walking on water while it ripples at your footsteps.The diip is a new experience of interactive entertainment.


ABNER CHUA

Xing Se: Defi ning a Chinese automobile style that revives the romance of motoring for the future generation of 2030.


33

WILL COOK

Conceptual laundry appliance. Top loading washing machine and drier that has the convenience of a top loader but functions like a front loader.


JEREMY DISHER

Dusta is an innovative agricultural product used for dispensing causmag (magnesium oxide)


FRAZER ELLIS

The Vello music stand concept embodies the emotions & tradition of classical music into a contemporary form while maintaining a high level of utility.


CASSANDRA GRAY

Hearth is an innovative heating product that creates the ambience of a fi replace desired by centrally heated households. Hearth also fosters relationships between family members.

35

NICHOLAS HARRIS

Taraiti Wind Kinetics seeks to apply inspiration from the New Zealand sculptural milieu to microscale wind turbines. Combined with low environmental impact, public acceptance will be increased.


ASH HOLWELL

An attempt at architecture as a product for the year twenty

twenty; trails of light in the new national gallery; and the

arrangement, junction and intersection of euclidean forms.

[email protected] 329 0436 c-/ [2008] 09 437 3518

MIKE JONES

The Starship Von Braun is the design for a fi lming miniature in the fi lm adaptation of the science fi ction/horror computer game ‘System Shock 2’.

BEN LAMONT

Arco brings together all that is outdoor dining.


37

JEREMY LEFEBRE

Evergreen Energy is a residential micro-generation management system that controls solar panels and other power sources and enables monitoring of power use within the home.

[email protected]

JAMIE MACPHERSON

The Carrello golf club transportation system aims to make the task of transporting golf clubs a pleasure rather that a chore.


WILHELM MARSCHALL

FAZ DIVE JET

A Diver Propulsion Vehicle [DPV] for recreational scuba divers.


PAUL MCDONALD

Consu creature design foruse in a proposed book to fi lm adaptation of John Scalzi’s ‘Old Man’s War’.

027 306 [email protected]

39

MATTHEW MCKINLEY

The Eweview modular sheep handling system targets a facet of agriculture that has previously been ignored; ewe pregnancy testing. Superior utility, ergonomics and innovation.


DAN MCLAUGHLIN

The EV8 Ute; Outcome of The Australasian Eco-Vehicle Adoption.

A study infl uencing Direction and Development in the year 2025 for Automotive-Industry leaders, General-Motors Holden.

KEITH ORCHARD

Ocius is a step away from generic 50cc mopeds; designed to fulfi l the user’s needs in an urban infrastructure.


MIKE O’DONOVAN

A luxury product aimed at corpo-rate offi ces and executive airport lounges, Recharge gives the user a private, relaxing experience to power nap or receive energising light treatment.


41

JIMMIE PARK

Aiker [ To support and encourage children with cerebral palsy to walk, promoting independence and self confi dence ]


SCOTT PARKER

CARAPACE is high impact upper body protection for

big wave surfers and wake-boarders. It is specifi cally

designed to allow the rider to perform to the highest level

whilst keeping them safe.

[email protected]

SCOTT PATCHETT

The next XBox, retro blender, Black and Decker Tools, correction tape dispenser.

[email protected]

SANDY PAWSON

The Sheath seat is a specialised, performance sports product for quadriplegic Wheelchair Rugby athletes.


43

SIMMONNE RICE

Designed for 2025, E.S.U (Easy Storage Unit) is a fridge, freezer and dry storage unit, which is functional, inclusive and ideal for everyday use.


SAM ROWSELL

Let nothing dictate your venue. Katipo, from tough, utility trailer

to elevated, weatherproof, stage in 30 minutes.


JAKE SNOWDON

First Sip is a wheelchair accessible drinking fountain, also designed to allow the fi lling of a drink bottle and drinking access for dogs.

[email protected]

IAIN TOLLADAY

Tusk Hunting Technologies

Tusk, an ergonomic and comfortable solution for carrying out wild game carcasses.


45

ALEXANDER WASTNEY

The Alacer sports therapy table is the fi rst to combine durability, portability and intuitive aesthetics to make the sports therapists job a lot easier.


JAMES WHITCHELO

The Budicam is a highly innovative video camera that uses RFID (Radio Frequency Identifi cation) technology to follow and capture the movements of extreme sports enthusiasts.


SPATIAL DESIGN

The Spatial Design programme explores

the corporeal and theoretical conditions

of architectural and virtual environments

and performance events. Spatial Design

is the practice of imagining, forming and

constructing spatial environments. Such

practice requires that we cross disciplinary

boundaries, moving between architec-

ture, performance, digital or virtual space,

exhibition design, textile, furniture and

fashion design. Our position within Massey

University’s College of Creative Arts

facilitates this cross-disciplinary practice.

Spatial design offers an expansive

territory for practice and research.

Our undergraduate and postgraduate

students continue to extend this territory

through their critical and speculative work.

Our 2007 Spatial Design graduates have

shown a commitment to, and passion for,

spatial design during their time with us.

We wish them all the very best in their

future. They leave Massey with the skills

to enable them to make valuable

contributions in their chosen careers.

Amanda YatesSubject Leader Spatial Design

47

DANIEL AN

In-between Space

The project combines two different spatial qualities, the real(material) and the virtual (immaterial), to generate a digital art gallery.

dsan45@hotmail021 466 000 JANE FRANCES APTHORP

The things – fi t out out fi t explores a body-object-environment relationship

investigating the space between.


GEMMA DEVONPORT-WARD

Choose the alternative route towards a sustainable future. Join the network that celebrates the potential of natural energy sources. Make the connection today.http://urban-entropy.blogspot.com/


MONIQUE ENOKA

Transitory moments between life and death.

‘…using the landscape and the built environment to

reinforce the fragility of life, without forgetting the

inevitability of death…’


49

KYLIE HARINGTON

SITE : SIGHT explores the notions of framing as a way of drawing in the exterior sur-roundings for a Department of Conservation tramping hut.


RACHEL JOHNSTON

This large-scale spatial re-design of a Farmers Department Store focused on furniture as a spatial generator, and referenced memories and traces of the past.


BRIDGET JOPSON

Re-air… – an exhibition, where the public are invited to interact with ‘air’, as an educative and spatially generative tool. Te Papa: 1 June – 31 August, 2008


KRISTEN RUTTEN

Home is not found in the house. Instead it is found in the arrangement, process and permanent relationships of body, objects and furniture.

51

LAUREN SKOGSTAD

ANN HOUSE, a theoretical design project, investigates dislocations and relocations between the real and the virtual, exploring the staging of event online.


NICHOLAS WONG

Negotiating Flux

Exploring density and intensity. By shifting and folding the

architectonics of a multi-story building, the idea of

a high density interior is challenged and reinvented.


PERFORMANCE DESIGN

This year we are very pleased to graduate

the second cohort of students in this

exciting new program. Run jointly

between Toi Whakaari (NZ Drama School)

and Massey University, the degree offers a

unique education in a developing fi eld of

the live arts. It is a discipline that addresses

the many situations of performance,

across spatio-temporal practices in

theatre, fi lm, dance, opera, music,

exhibition, fashion, and events. It considers

the active role that design can play in

manipulating space, object, movement,

body, and light to become a performer

with languages and narratives of its own.

Our students learn the principles of

designing for the stage, whilst also

learning methods, theory, and creative

processes whereby they can become

more than designers for performance,

but also designers of performance. 2007

was an important year for these students,

who attended the Prague Quadrennial

in June: they gained great international

interest and profi le for the work they

exhibited there. Our congratulations to

them all for their fantastic achievements

over the past four years, and best wishes

for the future.

Sam TrubridgeProgramme Co-ordinator,

Performance Design

53

JON CODDINGTON

To animate is to arouse something to life. Where

is the life in passively watching a fl at screen? Where is the movement, the touch, the intention?


HERMIONE FLYNN

Clothing is a form of visual communication that every member of the human population practises. This generates unique possibilities for the visual artist.

hermionefl [email protected] 472 0324

MEG FRAUENSTEIN

We are accustomed to viewing the female body as an image within the media. Most shockingly because it is now an overtly sexualised, commercialised form.


CAITLIN LE HARIVEL

In the video installation Nourishment? her face is

revealed through the eating of an edible skin; How is identity created through modern eating practices?


55

CLAIRE MIDDLETON

IDENTITY AND THE (BE)LONGING BODY

…movements that oppose each other; a negotiation of space, of entrances and exits, a constant loss and reclamation of space.


LEANNE STEVENSON

INSTITUTE OF COMMUNICATION DESIGN

57

To communicate in today’s world people

need to be not only verbally literate, but

visually literate. Our graduates are experts

at using visual language to communicate.

They know how to use colour, type, image,

composition, text, movement, form,

material, time, space, line and tone to

convey a message. They know how and

when to use technology, interactivity,

animation and motion graphics to enhance

that message; they know how to push the

buttons of a particular audience; they

understand the historical and theoretical

context within which their messages sit;

they know the difference between

persuading and informing. They are all

incredibly creative people who have

been on a long and, for some, tortuous,

journey to graduation. The staff of the

Institute of Communication Design are

very proud of their achievements.

Most in this book are graduating with a

Bachelor of Design degree, and setting out

to join the workforce. It is understandable

that after four years or more of study most

of our graduates are keen to put their skills

and knowledge into practice. But increas-

ingly, as in Europe and the United States,

it is postgraduate study where students are

able to do their most challenging, creative

and innovative research and practice.

Within the next ten years the Master of

Design degree will be what differentiates

those that can from those that can do

really well. Whether you are a recent

graduate or an ‘older’ Wellington Polytech-

nic graduate, we would love to hear from

you if you are interested in expanding your

horizons with a postgraduate qualifi cation.

Dr.Claire Robinson Head of Institute

ADVERTISING DESIGN

As advertising permeates every level

of our society, the responsibility our

graduates face is signifi cant. While still

encouraging our students to be

innovative and insightful, they still need

to be alert to the powerful affect their

work can have on societal stereotypes.

The advertising programme has

been very successful in the training

of advertising leaders in all areas of

creativity, as well art directors, copy-

writers, and account service over the

past 17 years. Our graduates have

achieved notable successes in the

industry both nationally & internationally.

The programme maintains a strong link

with industry. Our enviable reputation

of pushing the envelope in the practice

of both strategic & creative thinking is

paramount to the programmes success.

In regard to the 2007 graduates, they

have clearly demonstrated their passion

and professionalism for their respective

crafts. It is with confi dence that I farewell

these graduates into their respective

industries. I wish you all long and illustrious

careers and look forward to learning

of your future accomplishments.

Euan RobertsonAdvertising Lecturer

59

VICTORIA CAREW

BEN DAVIDSON

An awareness campaign promoting the Wellington bus service.


61

JO-ANN HARRIS

Picture features a campaign piece for Kaitaia Fire hot chilly sauce.

Advertising isn’t just words and pictures. It is a combination of research,

wit, story telling, and opportunity.


MICHAEL DENTON

Wellington is full of creative people eager to express themselves. Our voices are bursting to be released, and yet private advertising dominates our streets. Openposter.org hopes to provide an outlet for creative Wellingtonians to share their work with the rest of the city.


MICHAEL MCKERROW

My campaign is for an independent news website called projectbalance.com. It

encourages people to look beyond what they think they know.

KATHERINE MILLER

Wellington is a whimsical place of discovery; don’t assume you know what you will fi nd. This is Wellington. Things are supposed to be different.


JANINE SCHENK

An opportunity to engage with a size zero belt, and where one can go to learn about similar issues that affect models in the fashion industry.


63

ANNA SMITH

This is one of a series of ads in a campaign to promote self worth and a positive body image to teenage girls. Not perfect, just perfectly me.


TARA JOY STEVENSON

This campaign aims to target male youth suffering from depression within New Zealand, in order for them to understand depression better and seek help.

[email protected] 027 344 9259 or 09 445 6372

REGINA STROOMBERGEN

Autism can affect people in many different ways, including a tendency to take things literally. It’s not different - it’s just another way of thinking.


ERIKA TONG

This campaign aims to aid affl uent parents in becoming aware of what

effect their alcohol consumption may have on their impressionable daughter.


65

VISAL VENG

I wanted to cover all aspects of drinking, using images that are not likely to be seen in alcohol advertisements but in everyday life.


JO WARD

Antipodes is a New Zealand organic skincare range. My concept was

to combine skin, nature and New Zealand so the brand can

stand out against their competitors.


DIGITAL MEDIA

Once again the variety of research

undertaken by students this year is

impressive. We are still experiencing a shift

in interest back towards the interactive

areas like web development and DVD

interfaces. For the last few years the

success of the Lord of the Rings fi lms and

a lacklustre broadband environment has

seduced graduates into the fi lm industry.

Over the last year the Web 2.0 wave has

started to hit New Zealand and students

are much more aware of the amazing

potential of the Web to reach huge

audiences and facilitate social change.

Good luck to all this years graduates.

Everybody in the Digital Media team looks

forward to seeing your digital creations

spread via the ‘series of tubes’.

Mark ZemanLecturer Digital Media

67

BROCK ABERNETHY

Flicking is a photo application that uses your life and community wisdom to make adding information, sorting and sharing photos an automated or assisted experience

[email protected] 881 659 JACLYN ALLAN

With a new found zeal for typography, I was able to employ these skills into all that I endeavored in,

whether it be Graphic or Interactive Design.


GLEN BRAMLEY

My educational 3D animation is designed to inform New Zealand children of the importance of eating breakfast through humour, characterisation and narrative.


CURTIS BAIGENT

History does not change, but what we want from it does.


69

SIANA BUTTERFIELD

MATTHEW GRUEBER

My animation depicts addiction to gaming, a slow and gradual process, negatively affecting personality and behaviour.


STEVE BUTLER

Digital Album Cover Design Prototype

Introducing a new approach to the music industry that allows artists to personally present their album and its unique content.


JULIAN LEGGE

Clean and Green is a personal and social comment on the devastating effect which pollution, like storm water drainage, has on our marine ecosystems.


KEIR RICE

The development from a sculpted shell into an animation ready puppet. The clean and powerful controls help focus the animator’s

attention, leading to better results.


71

TYLER ROSS

This online photo-sharing community looks at a way to encourage professional photographers to advance from an amateur to a professional through suggestive and developmental learning.


SOPHIE SLACK

SoundCheck combines features of web technology and community generated tagging systems, which fi lters relevant music to its users in an interactive and visual approach.


JONAS SPERL

My project uses 3D animation to create a sympathetic adaptation of the graphic novel medium from page to screen.


CLAIRE SYMONS

Getting Greener

A personal education tool for sustainability that uses a time-based, personalised interface to engage a variety of users with specifi c andrelevant content.


73

GRAPHIC DESIGN

Today’s knowledge economy presents

both enormous challenges and opportu-

nities for graphic design graduates

transcendent of any geographical context,

isolated discipline, or optimised concept.

Beyond traditional skills and vocational

knowledge, graduates of the graphic design

programme have been encouraged to

cultivate a “creative leadership” in their

search for the ‘new’ by considering

conceptual approaches that blend

broader understandings with specifi c

design knowledge. Ultimately they can

articulate their ideas in compelling ways

enriched by the diverse experiences and

perspectives gained through the course.

For this reason our graduates are capable

of applying their creativity and communi-

cation skills to a broad range of industries,

businesses and professions outside of, and

in addition to, the traditional role of a

graphic designer. They have the capacity

to shape the future of their industry by

addressing innovations in technology

and wider social changes in society.

We look forward to following the achieve-

ments of this year’s graduates and the

impact that they have within the evolving

fi eld of graphic design as they extend

beyond existing disciplinary boundaries,

challenge entrenched thinking, and

continue to question what it is to be

a ‘Graphic Designer’.

Mark BradfordSenior Lecturer Graphic design

KRISTIN BALLARD

This project is a critical commentary looking at the techniques behind junk food advertising and the relationship it has with the diet culture.


KATE BARRACLOUGH

“The glorious world of words is lifted off the page and brought to life’ – Anne O’Brien, Writers and Readers Week Events Co-ordinator (2006).”


75

MICHAEL BARRON

Detail of a map of the Darfur confl ict. To properly respond to a crisis, we need to be able to grasp it’s complexity.


EMMA BEVERNAGE

An element of a project educating the public about

homelessness in Wellington, to lessen negative social stigma.


BOJANA BIJELIC

Elements of the past trigger feelings, which connect the viewer to a piece of design. Colour, texture, and the language used can give old methods such as the letterpress a new lease of life.


RACHEL CHANG

Design a set of packaging that promotes Chinese tea to

young urban consumers by bringing out the soothing and

contemporary qualities of it.


77

SHAO-HSUAN CHEN

My project is about exploring new ways of incorporating the traditional Taiwanese art form – paper cutting, into contemporary design.

[email protected] 140 6630 CHING-YI CHEN

Challenging the conventional book format in response to the philosophy of Harajuku fashion.


JOHANNA DE GREEUW

An exploration of the ability of typography to refl ect a sense of the journey of New Zealand’s walking trail Te Araroa – the long pathway.

[email protected] 329 0394 ELEANOR DENTON

I designed the book Food For Thought to introduce Kiwis to the philosophy of

‘Slow Food’, the culinary equivalent of stopping to smell the roses.


79

ALICE DODDRELL

“Of course wanting sustainable design and actually doing it are two very different things”

To communicate the issue of sustainability, create awareness and a call to action for designers, I needed to take others on a journey.


SIMON FAISANDIER

Start Making Changes addresses the way people relate to sustainability.

Designed to defuse potential cynicism by acknowledging fl aws and presenting

simple, everyday, sustainable solutions.


JENNI GOODWIN

My project is a street based awareness campaign celebrating New Zealand’s

unique nuclear-free heritage in the face of a global nuclear renaissance. Called REACT, this campaign includes

posters, brochures and postcards.


TALIMA FISO

WHERE R U AT? asks secondary school boys to be pro-active about their careers.

The book directs them through the chaos of making career decisions.

talimafi [email protected] 637 7407

81

KATIE HARTRICK

Welcome to Shufti, New Zealand’s own 24-7-365 online fashion collective and marketplace. A space dedicated to promoting and developing local fashion designers.


SARAH HARRIS

Fashion Philosophy, Typeface Design.

My passion for fashion and graphic design inspired my

cross-disciplinary exploration. A typeface inspired by the

Sass & Bide fashion philosophy. Beauty, Obscurity, Contradiction.


ANDREW HELMS

Texture, posters, and stencils on city streets merge together to create eclectic meshes of colour, type, and layouts; the same variants explored in graphic design.


KATRINA HARTWICK

Thinking Analogue is an inspirational book aimed at graphic design students. It’s purpose is to re-energise interest in an analogue approach to design, through my own challenging process.


MICHAEL HOURIGAN

Submission is the essence of Brazilian Jiu-Jitsu and thus was the base idea used to create

its visual identity. Jiu-Jitsu the art of submission.


EMILE HOLMEWOOD

The cover image for Bruno the Bear, an activity book aimed at educating young children about food and healthy eating.


JAY JOHNSON

FLURO Magazine required a contemporary branding scheme. I developed a series of coded

symbols and strategies that would develop a subculture within their niche audience.

jay@fl uromag.comwww.fl uromag.com

027 211 1209

NATASHA HOWELL

A City in Transition is a typographic exploration that expresses a historical space that captures the essence and the character of the Odlin’s Building.


DEAN IVAMY

In the process of creating history, the working

methods of an archaeol-ogist, historian, detective

or designer are similar. Their methods, instruments

and vocabulary are interchangeable!

[email protected]

85

TARA JOHNSTON

This diary aims to communicate to teenagers the damages of our sun on their skin, in order for them to take responsibility for their own health.


SARAH KELLY

Hand-printed letterpress techniques progress spatial ideas of rhythm and movement in this promotional design for an annual river race.


BRIAN LAMMAS

Poetry is open to interpretation, acquiring differing shapes in the eyes

of others. National Poetry Dayencourages the public to experiment with poetry in their own personal way.


CHARL LAUBSCHER

Detail from street based media questioning the superfl uity of paste-up posters in the Wellington CBD.


87

HAO-YI LIU

Little Diary

A sharing resource for newly arrived International students on my overseas study experience in New Zealand.


KRISTINA LEVINGS

A visual interpretation of Stephen Garside’s Train of Thought, a poem about dealing with the big questions of life and moving on.


LAUREN MCCAULEY

This set explains eight main steps in the design process to second year design students. The imagery is produced primarily from analogue techniques.


GEMMA MCCABE

A conceptual interpretation and analysis of women’s representations within today’s popular culture media. An investigation that challenges and questions media’s ability to depict young women.


89

GRAEME OFFORD

Major project submission. A set of contemporary versal characters designed to tell a nostalgic New Zealand narrative.

[email protected] 217 0448 or (AUS) +61 283 569 952

ANNA MOORE

A campaign illustrating the health benefi ts of free range eggs. Exploring hand printed

techniques to set a tone and,communicate a message.


DAN PEMBERTON

A Resurrection of Baskerville, John; using narrative and typography together to recontextualize the typeface for modern-day application


SACHA OLSON

“I entered India not knowing what to expect, except three months of incredible adventure”


91

KYLIE PHILLIPS

An ethnographic exploration of inherently familiar, but largely unnoticed narratives taken from interactions between an everyday place of transience and those who pass through it.


CASIE PIGOTT

Make the Cut. A promotional piece for the Massey Fashion Show that uses techniques and methods of fashion to enhance the graphic design.


FIONA RIDDLER

These images form part of my exploration into questioning our readings of the hijab.

fi [email protected] 180 8357

MARIJKE PRESTON

Expressive Typography : Visually expressing the essence of the Poem Three Cranes in a Dock in a typographic and 3D form.


93

CLAIRE SCHOFIELD

Identitee is a tee shirt campaign designed to empower young

women against the commodifi ed messages created by the media.

cr.schofi [email protected] 455 5518

MELISSA SHERLOCK

An anti plastic bag campaign using typographic interpretations of Wellington suburbs on calico bags. These create a sense of space and place of each suburb.


AMY VAN DYK

The Sandwich Club. An inspiring, innovative and interactive resource that encourages parents and children to work together to create healthy sandwiches for lunch.


HOLLY SLADE

Typographic expression of Wellington through poetry – words placed within

the structure of the streets, moved to fi t within the constraints of the city spaces.


95

NATASHA VERMEULEN

LOOK/SEE

Look closer. Take your time. What do you see? Elements that unfold and change over time can be captured to show the life that animates an everyday space.


TZU YIN WANG

Can’t live without toys.

[email protected] 021 135 0943 or +88 693 138 3908

BRIDGET WHITE

To refl ect the essence of Matiu/Somes Island and create an identity to be installed at Wellington’s Queens Wharf.


JENNIFER WATSON

Everything can be inspiring and exciting when you reconsider the context.

A fi fteen-month explorative investigation of the everyday, yet endlessly inspiring environment of Cuba Street.


97

BRENT WILSON

KAPAI: An introduction to designing with Maori motifs. The fi rst practical guide created for designers on how to appropriately use Maori culture in graphic design.


JOSH WYATT

Expressive typography can be used to reveal messages not immediately discernible within a piece of text. This was tested with the Book of Job.


ILLUSTRATION DESIGN

Illustrations are like words—visual words.

They are pictorial translations of thought.

Whether created out of ink, paint, pencil

or pixels, they too make us think, perhaps

in a more immediate way than the written

word. This year’s illustration specialists

present a diverse body of highly engaging

work. Whether it be to communicate

through visual narrative the personal

experience of a Khmer Rouge survivor

or explore creative options to assist

children with dyslexia, this year’s

graduates demonstrate why illustration

is such a powerful communication

medium. As design education in the

21st century becomes less about the

production of material artefacts and

more about refl ecting the society we

live in, the focus is on how our ‘thinking

designers’ shape experiences. To that end,

our illustration graduates have developed

highly sophisticated design strategies

to engage society with their messages.

Mike McAuleyIllustration Lecturer

99

OHMMAR COATES

This illustration came from a project aimed at encouraging responsible pet care.

The poem this image illustrates discourages leaving pets in cars.


ANNA GIBSON

This project pushed the boundaries of the illustrated narrative and explored the

possibility that a narrative could remain consistent

even when illustrated through different styles.

[email protected]

ANGELI HUDSON

One of eight illustrations designed to act as a visual companion to a selection of Pearl Jam songs, creating an enhanced audio/visual experience.


MATT KATZ

Reinterpreting The Boy Who Cried Wolf through illustrated narrative.

A multi layered children’s illustrated book aimed to impart a deeper

meaning than the original story conveys.

[email protected]@gmail.com

021 575 760

101

JEFF LAI

Imagining Alice: I used tacit knowledge to create my pieces. No reference material was used.


LAUREN MARRIOTT

Passage

An analogical space odyssey based on the journey students face when they graduate and

are thrust into the real world.


GEMMA MINOGUE

Somali illustration from a series of eight images in LOOK AGAIN:

Getting people to think about how they make judgments on

people different from themselves.

[email protected] 326 0289THAW NAING

I created the concept artwork for a proposed videogame. Here is an environment designed for one of the scenes.

103

KIM SENG

Representing culturally complex issues:

Using the graphic novel as a method of communicating one persons’ “real experience” of survival in a war context.

[email protected]

POLINA OUTKINA

Promotional Piece:Wellington Dragon Boat

Festival 2008 Poster

Ink, acrylic, pencil and digitalSet out to communicate both the

traditional Chinese and the contemporary local contexts of

the event, while preserving the lively spirit of the competition.


RACHAEL TOMBLESON

Question appearance and reality; know there’s a little bit of freak in all of us. ‘We see things not as they are, but as we are’.


JEZREEL TUYA

Giant Despair

One from a series of character designs and exploration of John Bunyan’s allegory, The Pilgrim’s Progress.

[email protected]://jez-tuya.blogspot.com027 355 7345

IVAN VEGAR

When a set of characters are successfully designed to communicate and illustrate real personality traits and a unique identity, it immediately captivates your audience.


105

JASMINE WONG

The Unknown OE: This piece aims to intrigue and give an insight about what an OE has to offer, in a way that snapshots cannot.


GARY WOOD

The fi ve elements and man’s relationship with nature.

Illustrations based on nature zen and the martial way.


SCHOOL OF FINE ARTS

107

The School of Fine Arts at Massey University

offers degree courses in Photography

and Fine Art, at undergraduate through

to Masters and PhD level and an

undergraduate Diploma in Photography.

The School currently has two signifi cant

focuses for its research through the Litmus

Research Initiative, an internationally

focused programme devoted to

scholarship in contemporary art, and

a second Research Cluster who’s research

represents the Schools unarguable

position as New Zealand’s premier provider

of degree level photography.

The staff who teach on the programmes

are notable for their research activities, and

as exhibiting professional artists, academics

and writers. There is a dynamic and

innovative culture which pervades the

school. The students who emerge from

our courses are imbued with a sense of

excitement 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 commu-

nity 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 DiggleHead of the School of Fine Arts

PHOTOGRAPHIC DESIGN

As a critical medium of art and design,

photography continues to evolve.

Our graduates are exposed to rapidly

developing technologies as well as the

shift in the way photography is applied

and interpreted. The 2007 photography

graduates are not only well equipped

to handle these changes, but they are

themselves extending the boundaries

of photographic practice. Photography

students regularly gain awards in

professional competitions as well as

contributing to signifi cant exhibitions

and publications. Much of this work

surprises the viewer with its innovation

and freshness. Graduates have also been

involved with a number of major public

exhibitions of their fi nal year projects and

each year these become increasingly

substantial and ambitious. This year also

saw a collaboration with the fi nal year

students from Deakin University Australia.

Graduates will head into the array of

exciting careers connected to the

medium and we look forward to hearing

of their success. Others will undertake

further study through our growing

postgraduate programme and extend

their undergraduate foundation into

the arena of visual research.

Wayne Barrar Director of Photography

109

LOREN BATSON

Erosion


JESI BEATON

Soon To Be Gone

This work is focused on temporary living, using the bed, the most comforting aspect of a home, to emphasize the transitory nature of the space.


SARAH BROMWICH


SOPHIE BROWN


111

GINA BRYANT

Images from the series fi ve minutes from home…


JOANNE BUCK


CHRISTINA BURDAN


TIFFANY CURTIS

A life beyond the ordinary... presented is part of a series containing the

documentation of Jae Morgan’s extraordinary lifestyle.


113

SARAH EDGAR


EMMA FLEMING

fl [email protected] 314 7109

SHELLEY JACOBSON

Prefabs relocated from Hikurangi Co-operative Dairy Company, Fonterra, Kauri (Established 1989 as Northland Co-operative Dairy Company). From The Product of Progress, 2007


SARAH JOBSON

Photographer/Make-up Artist

Photo from the series Backstage BeautiesTo view the rest of this series and

more work from Sarah visit www.bebo.com/SJ-Photography


115

KATIE KNOX


RACHEL LEATHAM


JARRAD MAPP

This image refl ects the evil nature of the car possessing the person - part of the Sinister series infl uenced by the Stephen King novel Christine.


JESS MCKEOWN

“Forget the idea of purity, real modern beauty is a remix”.

This study Synthetic Beauty explores the representations of women,

contemporary beauty and digitally manipulated imagery through

photography. The project has evolved through a process of image manipulation

experiments to explore the fusing of the real and fi ctional likenesses of women

creating a series of ‘womannequins’.


117

ALEISHA MCNIECE

My work reinterprets history by revisiting sites and appropriating

personal vernacular photography using modes of traditional analogue, and utilising natural light and space.


URSULA MENSEN

Pink Tulip Tree (Magnollia campbellii), one of the 160 plus listed heritage trees in Wellington.


AINSLEY O’KEEFE

This image is one of a series exploring how digital imaging technologies can be used to extend the creative potential of a makeup idea.


FRANCES OLIVER

This photograph is part of a series of work, produced to explore cultural appropriation in a

contemporary context, with reference to colonial ideologies of the ‘exotic’ and ‘other’.


119

RACHAEL PRESTON


HELEN REYNOLDS

From series Objects of the City - New Architectural Artefacts

The architecture of Wellington city in 2007 is transformed into new relics of a culture.


KATHRYN WALTERS


REBECCA WIIG

From the series titled Those with, exploring the diversity of the New Zealand

tattoo culture and its embrace of this age-old tradition of personal expression.

[email protected]

121

AMBER WILLCOX

Cara

The idea for these photographs originated from pre-Raphaelite painters, which has then been incorporated into fashion portraiture.


VANITA ANDREWS

DIPLOMA IN PHOTOGRAPHY

LUCY HOUGHTON


KATRINA ROXBURGH


PARTAKE - A photo essay on blind sports and the people who play them. Indoor bowls, craft group

and goal ball.


123

FINE ARTS

Congratulations to all students on the

completion of the Bachelor of Fine Arts

degree. Over the last four years students

graduating from the Bachelor of Fine Arts

programme at Massey University have

developed exciting and challenging art

practices enriching their conceptual and

theoretical interests through an assortment

of fi ne arts media and technology. Our

degree offers an innovative programme

that emphasises diversity and fl exibility in

the way students move through and

between specifi c fi ne art disciplines.

2007 has been a lively and full year with

many students taking the opportunity to

participate in exhibitions both on and off

campus, most notably ‘Exposure’, our end

of year exhibition. Student’s artwork has

been curated for exhibitions at Wellingtons

Michael Hirchfi eld gallery, the artist run

space Enjoy, and the Film archive, along

with exhibitions entirely organised by

students in assorted venues around

Wellington. Students also participated in

an exchange exhibition with students from

the School of Fine Arts at The University of

South Australia.

This group of artists have benefi ted from

a critical, supportive and collaborative

culture that they have both created and

participated in. This critical model will hold

them in good stead as they go on to a

variety of active roles in the cultural fabric

of New Zealand and the world beyond.

Simon MorrisSubject Director, Studio Arts

SUSANNA BAUER


JEREMY BOOTH

Untitled 1, from the series Klynham.


125

LYNDA-ALICE BROUGHTON

Title of work: I’ve been collecting my thoughts.


SOPHIE BURTENSHAW

Eerie Teddy

[email protected]

CATHERINE DAY

Hum, DVD

Litter, installation

[email protected]

127

SARAH GORDON


JANN LENIHAN

Isolation can be used for protection but can also be the cause of damage.


POPPY LEKNER

U-Land series (plaza)


129

MAIA MCDONALD

Photomedia

Image: A candid shot of Tim and Maia erecting work for BLOW’s: Exposure – photo J. Diggle.

KAYLA PRITCHARD

entropic – An observed process of natural, organic erosion.


RICHARD SIMMONDS

The painting of Arnold Schwarzenegger is about placing the action hero or star on a pedestal to exalt them as a god like icon.


ELSPETH SHANNON

Modus Vivendi. A provocative reassessment of our relationship with other animals.


131

NGAIO SIMPSON

Check creates the situation to engage with the world through the recognised system of chess. The level of participation is up to you.


LEENA STOWELL

video still from Bivouak

[email protected]

MIKE TING

Social object making as a tool to invite discourse, acknowledging that nothing has a set meaning,

and so always fi nding contradiction.


GEMMA SYME

Video work: I’m gonna touch the skyVatrine work: Stars in your eyes

[email protected]

133

GILES WHITAKER

This work is a digital continuation of the abstract painting tradition,

and sets up a visible system whose changes are driven by

the soundtrack data.


CLAIRE ZANELLI

IL Salotto – image from installation

Il Salotto (the “living” room) deals with the ideas of family history and how we manifest our autobiographical memories. Like death, memory is a reality that once was, that can fade and distort with time. We feel a fragmented familiarity through the politeness of the camera lens.


RUTH KORVER

POST GRADUATE DIPLOMA IN FINE ARTS.

Image 1 – Bach Window Series – Photographs.Image 2 – Ponies in Landscape – Digital projection and drawing.

[email protected] 150 720104 389 4788

BASIA SMOLNICKI


[email protected]

135

HANNE VAN BEEK


From regulated formality through to the sublime idea of wedding, this is the search for the wedding reception I never had.

ADRIAN MCCLELAND


Ngati Pou, TainuiTitle of the work is if it’s broken, fi x itWorking sketch

[email protected]

POST GRADUATE STUDIES

137

Congratulations to our many students who

have completed postgraduate qualifi ca-

tions in creative arts. The work shown in this

years Exposure is a small representation of

this achievement. Our students have shown

both creativity and tenacity to achieve

their postgraduate goals. On the way

they have drawn on the expertise of an

outstanding range of academic staff

who themselves are also actively pursuing

research goals in fi ne art, visual and

material culture and design.

Postgraduate study in creative arts brings

important creative vitality to the college.

It gives me pleasure to announce that

from 2009 additional routes will be available

to make postgraduate study even more

accessible through new honours degrees

in design and fi ne arts and a new Postgrad-

uate Diploma in Design, complementing

the already existing postgraduate diploma

in fi ne arts.

Thank you postgraduates for what you

have brought to Massey during the

achievement of your goals. Best wishes

for your creative futures.

Sue McLarenAcademic Director

TRACEY BLAIR

MDES

Successful social skills: designing a way of learning non-verbal com-munication skills through a structured interactive computer prototype. The prototype identifi es, and re-sponds to, the particular challenges of teaching social skills to children with the Autistic characteristics which are specifi cally related to Asperger’s Syndrome (AS). This prototype has been designed with consideration for the unique cognitive attributes and sensory is-sues that AS individuals encounter.

JAMES HARVEY

MDES

Telling the market story through organic information and interaction design and IP broadcast media.

Viewer understanding of fi nancial information can be improved by design that uses gestural interac-tion interface display technology. A conceptual prototype for the presentation of fi nancial market information on television was developed that integrated four themes: the relevance of visual storytell-ing to fi nancial markets; the relevance of broadcast news as a delivery channel; data transformation methodology; information interface design principles and assessment prototype.

139

GRAY HODGKINSON

MDES

The art-infl uenced design process: a visually representative web history browser: the development of a prototype offering an alternative method of visualising, organising and manipulating data based on a graphic design approach inspired by the Constructivist aesthetic.

KARL KANE

MDES

Re-framing the history of the Tour de France bicycle race as a successful and uniquely mature example of experiential design.

This study explores and reviews the world’s largest annually staged sporting spectacle as a case study in experiential design to establish the key design characteristics within the Tour de France that have contributed to its success and longevity.

TULIA MOSS

MDES

Goodness: De-signing the Nature and Culture of New Zealand

Milk Packaging Signs

Milk is a product from nature. Milk production is entwined in New Zealand

economic and social identity.

This thesis is a critique of the semiotics of milk packaging in relation to nature,

and presents new sustainable milk packaging design using new

biodegradable materials.

141

MARK ZEMAN

MDES

Searchbots.net: The Infl uence of a narrative interface on the motivation levels of user contribution to an open content search engine.

TIM PARKIN

MDES

Save Our Streets was a campaign to make Te Aro a designated area for creative practices.

This was carried out through a graphic design led strategy that aimed to motivate community action and infl uence the Wellington City Council’s resource policies.

ANDREW BRETTELL

MDES

Staging Phanatasmagoria explored the uncanny effect when the mediatized image and the live body interact in the performance space.


143

JENNY DEONARAIN

MDES

Not what we are: the (co)re-creation of self

Encouraging the liberation of the postmodern individual from the restrictions of traditional sewing processes through the introduction of adaptable alternatives, processes of re-creation, and co-creation.

[email protected] 176 8991www.notwhat.co.nz

VANESSA CROWE

MFA

My research draws a connection between the relations of order and ornament in decorative pattern and the relations of order and chaos in everyday life.


KENNETH YOUNG

MDES

This project focused on the design of a concept motorcar sports interior. Design emphasis was placed on expressing appropriate levels of ‘luxury’, ‘high-performance’ and ‘exoticness’.


145

MURRAY HEWITT

MFA

A still from my video work titled Weeping Waters 2007. Filmed

on the foreshore at Castlepoint in the Wairarapa.


WILLIAM FRANCO

MFA

No Naianei/from this moment, a cross-cultural collaboration by Chicano and Maori artists created as a platform for dialogue between cultures and people.

[email protected] 100 558204 934 2141

TERO MARKUS RAJALA

MFA

A home for imagined memories.

Video loop projected to balsawood and tissue house with audio loop, 2008.

www.teromarkusrajala.com

HELEN MITCHELL

MFA

Tattoos appear to function as objects of transformation for the contemporary female wearer. As well as contributing to the construction of a more complex (and interesting) adopted identity, they also provide the wearers with a context for cultural exchange.

147

STEPHEN ROWE

MFA

Untitled (Green) 2007

The fl aneur identifi ed by Charles Baudelaire and Walter Benjamin was a privilege of class and was, at fi rst, a wholly male preserve. To wander with a dispassionate eye, to fi nd pleasure in looking and moving slowly over a scene was only for those whom could afford this luxury. As the visual became democratised with the shift to a consumer economy (as opposed to a producer one) the spectacle rose to meet everyone as a fl aneur, everyone now could have greedy eyes.

However to see everything is to see nothing, to see all of the wood is to see none of the trees. The familiar is invisible. A global homogeneity exists where shape, colour and symbol become a universal language. This is a logical evolution of a corporate expediency of economy of language and message. Recuperated culture folds in on itself in an endless loop. Written and re-written, words ultimately disappear altogether. The scene constantly seen can never be seen again.

The distillation of the consumer spectacle brings us to the noise of today’s visual environment where the sheer ubiquity of branding renders it invisible. The coolness of presentation and effi ciency of its implementation invokes a different fl aneur – one for whom a level of disinterest is as much a defence as it is a pleasure.

PAT WHITE

MFA

My sculpture investigates living locally, a sense of place

referencing de Certeau’s know how. An established

painting practice, and rural life skills further inform the work.


Documents

Exposure 2007