A SELECTIVE EYE

A SELECTIVE EYE
RICHARD WOTTON

Introduction by Peter Ireland
Essay by Dr Rangihiroa Panoho

For fifty years, Whanganui’s photographer Richard Wotton has quietly observed the world through his camera. Largely self-taught, he belongs to the generation of New Zealand photographers inspired by ‘The Active Eye’ exhibition of 1975, which urged to redefine photography as a serious artistic practice in this country.

His work shares the directness and clarity of American photographers Walker Evans and Paul Strand yet remains unmistakably his own: patient, precise and deeply attentive to the play of light. Through architecture, interiors, landscapes and portraits, Wotton transforms ordinary subjects into quietly compelling studies of form, atmosphere and place.

This substantial volume surveys the breadth of Wotton’s practice, bringing together beautifully reproduced images of architecture, landscapes, portraits and intimate interiors. Throughout, his work is marked by a calm, contemplative vision that favours careful observation over spectacle, revealing the enduring beauty found in everyday environments. Richard’s career and photographs are thoughtfully explored by his long-time friend and supporter and photography critic, Peter Ireland.

For thirty-one years, Wotton served as staff photographer at Whanganui’s Sarjeant Gallery, retiring in 2018 after documenting countless works of art, exhibitions and the life of the institution. A two-year personal project in the Gallery—recording its restoration and reopening—is represented here through luminous photographs of empty spaces where the light itself becomes a quiet witness to the building’s past and future. Memorably, this section is introduced by a lyrical essay by Sarjeant Gallery’s former inaugural Māori Curator (1988–91) Dr Rangihiroa Panoho.

Among Wotton’s most significant bodies of work are his photographs of New Zealand’s vernacular architecture. Drawn to modest houses, shops and commercial buildings that rarely attract attention, he records them with remarkable clarity and empathy. These unassuming structures—many influenced by the streamlined Art Deco and Moderne styles of the 1930s to 1950s—become eloquent portraits of local history and identity. As redevelopment and earthquake strengthening continue to reshape New Zealand’s towns and cities, Wotton’s photographs stand as both celebration and record, preserving buildings whose future is often uncertain.

Neither nostalgic nor documentary in the conventional sense, Richard Wotton’s photographs invite us to slow down and look again. In the ordinary, he discovers the extraordinary, revealing a lifetime devoted to seeing with quiet intelligence and unwavering generosity.

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Available in strictly limited number from Friends of Rim Books.
August 2026
Hard-cover | 204 pages | 240x300mm landscape
ISBN 978-0-473-79446-0


RRP$140

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CLASSIC AOTEAROA

CLASSIC AOTEAROA
New Zealand architecture through a photographer’s eye
by MikiNobu Komatsu

MikiNobu Komatsu’s love of travel began in childhood when his family moved from suburban Tokyo to New York City. The experience of living among the city’s older Western architecture left a lasting impression and sparked a lifelong interest in the character of place.

After moving to Sydney in the late 1970s and taking up photography, Komatsu travelled extensively throughout New Zealand photographing its landscapes and natural environment. This work led to the publication of his first South Island landscape book, Light Moods South. Alongside the landscapes, he found himself increasingly drawn to the buildings and streetscapes of the towns he visited.

Over the years, his interest expanded beyond celebrated historic landmarks to include the everyday architecture that gives towns their distinctive identity—shopfronts, hotels, theatres, halls and other familiar buildings that reflect local history and character.

Komatsu’s photographs are often driven by an intuitive response to a place. Rather than documenting architecture alone, they seek to capture the atmosphere created by light, weather and the quiet presence of the built environment.

Published in 2024, Classic Aotearoa presents 80 photographs spanning the length of New Zealand, celebrating the country’s architectural heritage through both iconic landmarks and overlooked vernacular buildings. Since its publication, the book has been launched in Christchurch and featured in a series of exhibitions, culminating in a recent exhibitions in Auckland.

Original publication date 2024
Flexi cover  | 144 pages
Design concept by MikiNobu Komatsu
Published by Jap-Art Productions Pty Ltd

RRP $65

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ET IN ARCADIA EGO

ET IN ARCADIA EGO
by Haruhiko Sameshima

The original edition was produced in 2015 for Open Book, an exhibition curated by Shelly Jacobson at RM Gallery. Only eight copies were made.

Ten years later, long out of print, the book still feels current given recent geopolitical and climate events. The images haven’t been revised. If anything, the world around them has shifted—or come into sharper focus. What once seemed distant now reads more directly. The same conditions persist: conflict, spectacle, excess. All still there, just harder to look past.

The photographs were made over two decades (1992–2013), during overseas travels. They move through art museums, tourist sites, and shopping destinations—spaces of display and controlled encounter. Ruins, paintings of war, natural history museum dioramas, the Paris catacombs and scenes of retail excess sit alongside staged grandeur of Caesars Palace. A couple of images made in Aotearoa New Zealand and a selection of public-domain artworks are folded into the sequence.

The title, Et In Arcadia Ego, points to the classical reminder that death is present even in paradise. There is no single subject, only an accumulation: images of images, histories already framed, realities already mediated.

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Original publication date 2015, reissued May 2025
Softcover | singer sewn | 44 pages
Second printing 100 copies

RRP $50

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Year To Date

Year To Date – Brendan Kitto

A5 Zine.

A compilation of 12 black and white photographs from Brendan’s walking and road trip journeys.
From January to July 2025.

Brendan has been photographing in the Whanganui / Manuwatu and lower North Island area since he moved back to live in Whanganui in the 2020’s.

He was the A Gallery, 85 Glasgow artist in residence during October 2020.

“I took this opportunity to reconnect to the place I lived during the early to mid 1990’s.  Most of that time was spent between Spriggens Park where my Father was manager of the Marist U21 and senior team and checking the North Mole to see if it was calm enough to cross so we could take the boat out.  I wanted to return and explore my childhood memories of places and document the change………if any.”

This Zine is an update of his ongoing journey – photographs from the first half of the 2025. His gentle and steady assured photographic chronicling of a place in time.



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Publication date: August 2025
Softcover | A5 Zine | 28 pages
Edition of 30

RRP $25 

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one foot on the bottom

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.


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2026

ISBN: 978-1-0670943-0-0

112 pages
270x210x12 mm
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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Uprooted: a handbook of levitating flowers and other fashionable nonsense

Uprooted: a handbook of levitating flowers and other fashionable nonsense
by Fiona Lascelles

What if… the internet was soil, what flowers would grow?

A speculative piece of fiction that is part photography, is definitely sci-fi, could be used as a handbook, recants the ordeals of a 1950s plant breeder who grows species given to her from travellers to outer space (found on Wikicommons), performs acts of flower propagation via the active nourishment of words and contains magician’s coding.

Uprooted is a ramble across multiple worlds both real and imagined. At its core a reframing of plant taxonomy from a poetic perspective, entertaining the notion that a poetic understanding of the world is as viable a convention as one of argument and reason.

A process condensing research and readings, visual exploration, observation, curation and creating connections, play and critique; Ursula le Gruin refers to this as composting, a fitting analogy for the creative process. In the end the work became more than poetic fancy, rather a handbook of provocation.

Uprooted is a reflection on what philosopher Donna Harraway would see as a statement on the blurring of species identity politics. The accompanying texts and quotes throughout the book affirm the problem of the hierarchy of being: machine over plant, human over machine. Here, the plant speaks back.

Concept, design, production // Fiona Lascelles

Photography // Fiona Lascelles
AI images created using personal photographs in midjourney and re-edited/composed in Photoshop.
Coding created in codepal.ai and edited.
AI plant names initially generated in fantasynamegenerators.com and re-edited.

Winner of Gold in Print / Books IDA Design Awards 2024.

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170 x 240mm
94 pages
Text // Eco 100% recycled 115gsm
Cover // Screen printed one colour Colorplan Bitter Chocolate 270gsm
End Papers // Eco 100% Recycled 135gsm
Printing // Crucial Colour, Auckland, New Zealand
Perfect bound (handbound) // The Binding Studio, Auckland

Published // back_space_books
Edition of 50

ISBN 978-0-473-73488-6

RRP $80

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an invisible hand

an invisible hand
Stephen Roucher

An Invisible Hand is Stephen Roucher’s first artist’s book, from his street photographs made between 2012 and 2022.

In an era where modern technology offers precise navigation and ubiquitous ‘street-view’ convenience, locations are catalogued and made explicit through GPS coordinates and addresses. Commerce and progress drive these technologies, shaping our environment and perceptions of it.

Roucher invites us to consider a machine-driven perspective from another era with his black-and-white photographs made using a view camera, a cutting-edge technology of the 19th century that radically reshaped our perceptions of the world. He captures the urban landscape not with the precision of contemporary tools but with an eye for the timeless and the unseen. The photographs delve into the nuances of public spaces, the rejuvenation of forgotten corners, and the artifacts of once-daily technologies now obsolete. Roucher juxtaposes the meticulously catalogued present with a more ambiguous, reflective view. The book brings to life locations vaguely referenced, ideas repurposed, and the subtle transformations of environments in constant flux. These photographs serve as a testament to the invisible hand guiding our perceptions and interactions with the world.

Stephen Roucher is an independent photographer, based in Wellington Te Whanganui-a-Tara. Since graduating from Elam School of Fine Arts in 1995, he has accumulated an archive of conceptually focused series of photographs, depicting the urban and rural environments. His practical experience in the process of photography, both analogue and digital, informs his approach to making his art. He had solo exhibition ‘Stands’ (series of stands mostly from rural sports fields) at Whangarei Art Museum in 2011 and McNamara Gallery, Whanganui in 2012, ‘Void’, an installation in the iconic TestStrip gallery in Auckland in 1995. His photographs were featured in many group shows – including in Now & Then: Enduring and developing themes in contemporary New Zealand photography, Te Manawa, Palmerston North, in 2012.     

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June 2024

ISBN: 978-1-99-116527-5

Pages: 108pp, with offset duotone
Format: card jacket, section sewn
Dimensions: 245 x 240 x 11mm
RRP $75.00 (limited hand-bound edition of 150)

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in some smothering dreams

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.

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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

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.

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June 2024

ISBN: 978-1-99-116524-4

Pages: 120pp, with colour reproduction
Format: hardcover wrapped printed cloth, section sewn
Dimensions: 268 x 207 x 15mm
RRP $50.00

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VIEWSHAFT

Viewshaft
Allan MacDonald and essay by Rangihiroa Panoho. Designed by Jonty Valentine

Viewshaft is a geo-linquistic drift, from north to south, through the volcanic fields of Tāmaki Makaurau. It shows mountains still to be seen, and others that are not. Except sometimes through the photographs or words of those who felt a need to describe them at the time. Those words and images come into play here, through the writings of geologists Firth, Searle and Hayward, and also through the influence of two small but notable publications, Auckland’s Unique Heritage: 63 Wonderful Volcanic Cones and Craters. An Appeal to Save Them (1928) and Auckland Volcanic Cones: A Report on Their Condition and a Plea for Their Preservation (1957). Both were attempts to preserve Auckland’s volcanic features at a time when they were being rapidly consumed by twentieth century demands. Viewshaft is accompanied by an essay by Dr. Rangihiroa Panoho, ‘Āku Maunga Haere’ (my travelling mountains).

Viewshaft is testimony to his continuing gaze at the volcanic maunga that have an iconic presence in Tāmaki Makaurau. Aucklanders live on and in the shadow of these maunga and the recent public debates about how their tihi ‘their sacred high points’ are planted and the replacement of exotic with natives shows just how much passion these natural forms generate. Tāmaki Makaurau is indeed still a land ‘desired by hundreds of lovers'”. Dr. Rangihiroa Panoho

Read the full reflection on the book and exhibition by Dr. Rangihiroa Panoho

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2024

ISBN: 978-1-99-116526-8

Pages: 46pp, with colour reproduction
Format: Soft cover saddle-stitched
Limited edition 200: signed and numbered
Dimensions: 298mm x 210mm
RRP $60.00

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