The 80 c-type prints in The Homely were taken over a period of several years, on trips around New Zealand and Australia. New World is an enquiry into genre—a deconstructed Western. As with The Port , Hipkins has presented Erewhon in different ways. Featured Artworks View All The Port scrambles images from India and New Zealand. Colonialism could be science fiction and science fiction could be colonialism, and both are Westerns. Hipkins hones his illustrated voiceover approach in The Port
By the time he began making real films, he was a mid-career artist. A film about Texas is, by analogy, also about frontier New Zealand and about contemporary New Zealand. Retrieved from ” https: Hipkins’ recent film work, New Age , is set at Avebury and calls on the tradition of spirit photography. The landscapes are empty. In he started making fragmented narrative short films that call on nineteenth-century literary references and adapts these writings to contemporary settings. Featured Content View All. Retrieved 6 January
Associate Professor Gavin Hipkins – The University of Auckland
Net Art’s Archival Poetics presents 16 seminal artworks from Filmm Art Anthology, an ambitious two-year initiative undertaken No longer content with making moving-image works for galleries, he aspired to make films to show in cinemas, to cinema audiences, with cinema-audience expectations. This book was informed, in part, by the years Butler spent working on a New Zealand sheep station.
So, Erewhon is at once a film that recalls still photographs and a series of stills that evokes a film. By inserting these jarring elements, he exemplifies the use of non-naturalistic, experimental film language to indicate the deranged or uncanny. I forgot my password.
A film about Texas is, by analogy, also about frontier New Zealand and about contemporary New Zealand. The 46 photos in Leisure Valley reflect the 46 sectors in Le Corbusier’s original plan for Chandigarh; The Port combines images of the 18th century architectural instruments Jantar Mantars with imagery drawn from the New Zealand landscape, and suburban architecture from Stonefields, a new Auckland residential development, accompanied by audio of passages being read from H.
In retrospect, it makes total sense that Hipkins would gravitate toward filmmaking. They share more with the alternative-cinema tradition of personal essay films, such as those of Chris Marker and Patrick Keiller, which are often portraits of places. As with The PortHipkins has presented Erewhon in different ways.
Gavin Hipkins • New Zealand International Film Festival
Ocula Magazine Contents View All. If Hipkins started out making works of still photography that were haunted by cinema, he has ended up making films that look like photo sequences. Partly, gavun new interest was artistic; he was intrigued by the medium. Their collaborative works have been presented in several dealer gallery exhibitions and in Multiple Exposures: Erewhon is a study in montage.
If his foray into filmmaking once seemed like an aberration or a detour, hpikins now makes complete sense. Hipkins-the-filmmaker is not identified with his narrator. Throughout his career, Hipkins has worked with both analogue and digital forms of photography.
Art New Zealand As the images of the hand form rotate in the photographs, the roses move from red to orange to yellow. Bible Studies New Testament. Where his artist videos had been basic and abstract, his early shorts featured actors and were made with crews. In The Field 1, photograms produced by placing a polystyrene ball on a sheet of photographic paper and exposing it to light.
Colonialism could be science fiction and science fiction could be colonialism, and both are Westerns. Jewelry and Photography at the Museum of Arts and Design. These dates and names are important.
Gavin Hipkins at IFFR
The very glory of a mountain is in the revolutions which raised it into power and the forces which are striking it to ruin.
While undertaking post-graduate study at the University of British Columbia, Hipkins decided he wanted ‘one sustainable, heavyweight project’ to focus on.
The 80 c-type prints in The Homely were taken over a period of several years, on trips around New Zealand and Australia. Retrieved 17 February After some agonising, the young man confronts a Suprematist square-on-square canvas hung in a corner.
Galleries By Country View All. We are left filk a sense that any presentation is provisional and that works themselves are porous. Instead of depicting disoriented characters, as in The Master and The Dam Ohe focuses on disorienting his viewers, typically without a person in shot.
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