one foot on the bottom

Posted on January 15, 2026 by Haru Sameshima

one foot on the bottom
Mary Macpherson

one foot on the bottom is about childhood or the space that childhood once occupied. Using family Kodachrome slides from the 1950s and ’60s taken by her late mother Evelyn, and her contemporary photographs, Mary Macpherson creates a portrait of family holidays by the beach, lake and river. The book is poetic and unexpected and placing the past with the present, so time folds in on itself. The result is an evocative representation of childhood, the power of photographs and our love of spending time by water throughout Aotearoa/New Zealand. The book includes a lyrical essay by Mary.

Artist/writer Gregory O’Brien recently wrote about one foot on the bottom:

‘A kind of child-like intensity and wonder characterises much of the best photography, as it does poetry. Yet there is also a sense of care, nurture and an understated delight in one foot on the bottom which could be described as ‘parental’. Mary Macpherson and her mother Evelyn survey their subjects carefully, thoughtfully and tenderly. Family is the coastline along which their camera travels, looking towards or away from the ever-recurring sea.

Evelyn Macpherson’s photographs anticipate her daughter’s – a whispered conversation in the brightness and clarity of a shared world. At the same time, Mary’s photographs carry her mother’s inside them–not as reflections, precisely, but as a lingering music. Where did summer go? How did that summer end? As if a shadow that fell on a wall fifty years earlier might still be found on that wall. For all time. ‘

Mary Macpherson is a photographer and poet from Te Whanganui-a-Tara/Wellington. Engaging with concepts of identity, place and change, her practice responds to emotional and social transformation. She has exhibited nationally across the country, published limited edition photobooks and her work is in many public collections including Te Papa, the Dowse Art Museum, Te Whare o Rehua Sarjeant Gallery and others.

2026

ISBN: 978-1-0670943-0-0

112 pages
54 photographs
Softcover with flaps
Section sewn, layflat binding
Design Mary Macpherson and Katrina Duncan
Editing Peter Black and Mary Macpherson

Edition of 100
RRP $80.00

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in some smothering dreams

Posted on June 19, 2024 by Haru Sameshima

in some smothering dreams
Camus Wyatt
with an essay by Deidra Sullivan

What can photographs say about the unimaginable? in some smothering dreams takes our gaze to the First World War, where official photographer Henry Armytage Sanders created the most extensive visual record of New Zealanders on the Western Front. But rather than being an archive of slaughter, Sanders’ photographs often depict the faces of men behind the lines and the landscapes left in the war’s wake.

Using details from the original glass plate negatives, Camus Wyatt reimagines these photographs as places of strange beauty, capturing both a profound quiet and a looming sense of dread. With an essay by Deidra Sullivan on the history of the Sanders collection and the possible meanings of their reimagining, in some smothering dreams is a moving contemplation of the pathways between image, archive, the lives of others, and the limits of our understanding.

“(Sanders’) photographs are deeply evocative of New Zealand’s involvement in this global conflict and of the experience of those who served. The significance of the collection is illustrated by its inclusion on UNESCO’s Memory of the World register. Public engagement with these photographs has always been strong, but by revisiting the original negatives and drawing attention to the quiet detail captured within them, this publication will present a reinterpretation that is sure to deepen both personal and collective connections with these images.”

—Natalie Marshall, former Curator of Photographs at the Alexander Turnbull Library

Camus Wyatt is an independent photographer and doctoral student in art history based in Wellington Te Whanganui-a-Tara. His practice often examines the connections between thought and place, perception and form. He is drawn to the possibilities of change and chance, unplanned moments and the materiality of analogue photography. He has had five previous solo exhibitions. His most recent work was Time is the longest distance, a public art installation for Wellington City Council of sixteen large-scale lightbox images exploring the relationship between photography, memory and place.

Deidra Sullivan teaches on the Creative Technologies programmes at the Wellington Institute of Technology and has also taught at Massey University and Victoria University, tutoring in the Art History Departments. She has an enduring interest in photographic history and processes, and during 2020-2021 took time out from teaching to take the position of Curator, Photographic Archive, at the Alexander Turnbull Library. Her MFA considered the connections we make between historical knowledge, personal and cultural memory, and imagination when exploring collections of photographs. Her photographic practice engages with cameraless and lens-less photography.

June 2024

ISBN: 978-1-99-116523-7

Pages: 120pp, with offset duotone
Format: hardcover wrapped cloth, section sewn
Dimensions: 257 x 207 x 17mm
RRP $50.00

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THREAD BETWEEN DARKNESS & LIGHT

Posted on June 18, 2024 by Haru Sameshima

Thread Between Darkness & Light
Stella Brennan
Essays by Susan Ballard, Kirsty Baker, Lissa Mitchell and Ross Galbreath.
Designed by Alice Bonifant.

Thread Between Darkness and Light, a new photo book by artist Stella Brennan, began with the gift of a painting: a depiction of Rangitoto with a mysterious ruin in the foreground. Investigating its painter led Brennan to an 1897 photograph of her great-great-aunt Louise Laurent with her female classmates – students at the same art school Brennan attended a century later. Struck by this uncanny affinity with her previously unknown ancestor, Brennan embarked on a journey of research and revelation.

Cold-calling long-lost relatives, she unearthed an archive of Edwardian glass plate negatives, which a cousin had carefully preserved since Louise’s death in the 1960s. Despite being cracked and marred by mould and dirt, Brennan meticulously scanned the 300 fragile plates. Her first realisation of Louise Laurent and her husband William Winn’s 100 year-old archive was an immersive installation of 36 translucent silk banners, displayed in 2023 at Te Whare Toi, City Gallery Wellington.

This book delves deeper into these historical images, juxtaposing the passage of time with startlingly contemporary framings and content. There is even a string-assisted selfie of Louise and William together. On the other hand, the extreme damage sustained by some of the negatives, the cracked glass, peeling emulsion and blooms of mould speak to the time between then and now. It is this tension that animates the project – this superimposition of time and place. An evocative collaborative essay enlarges the historical and material context. Susan Ballard, Professor of Art History at Te Herenga Waka—Victoria University of Wellington, Kirsty Baker, Curator at Te Whare Toi, and Lissa Mitchell, Curator of Historical Photography at Te Papa, bring their unique perspectives to a text that breathes life into these spectral images.

Brennan’s documentation of her discovery process is complemented by historian Ross Galbreath’s riveting account of Louise’s adventurous mother Lucie, tracing her journey from birth in a London workhouse, to the 1871 Siege of Paris, to her arrival with her three daughters in 19th-century Tāmaki Makaurau/ Auckland, Aotearoa/New Zealand. Thread Between Darkness and Light is not just a photobook; it’s a poignant bridge across generations, a tapestry woven from the traces of the past into the light of the present.