[{"data":1,"prerenderedAt":2105},["ShallowReactive",2],{"$h8UY5RNa6K":3,"\u002Fprojects":30},{"id":4,"title":5,"body":6,"description":15,"extension":22,"meta":23,"navigation":24,"path":25,"seo":26,"stem":28,"__hash__":29},"projects\u002Fprojects.md","Projects",{"type":7,"value":8,"toc":19},"minimark",[9],[10,11,12],"u-page-hero",{},[13,14,16],"template",{"v-slot:title":15},"",[17,18,5],"p",{},{"title":15,"searchDepth":20,"depth":20,"links":21},2,[],"md",{},true,"\u002Fprojects",{"title":5,"description":27},"Projects by Louise Stevenson","projects","8TuBxVe-S_GAhVP5qwozsshJ5uhHGdgUZN0B_8Mf2vM",[31,85,151,254,360,516,596,690,765,826,883,984,1060,1157,1213,1258,1389,1449,1503,1548,1624,1691,1740,1877],{"id":32,"title":33,"body":34,"date":77,"description":78,"extension":22,"image":52,"meta":79,"navigation":24,"path":80,"seo":81,"stem":83,"__hash__":84},"projectItems\u002Fprojects\u002Fmaterial-distance.md","Material Distance",{"type":7,"value":35,"toc":74},[36],[37,38,43,47,53,60,67],"u-container",{"className":39},[40,41,42],"flex","flex-col","items-center",[44,45,33],"h2",{"id":46},"material-distance",[17,48,49],{},[50,51],"img",{"alt":15,"src":52},"https:\u002F\u002Fplacehold.co\u002F600x400.webp",[17,54,55,56,59],{},"For three years, Stevenson and expatriate writer Jodie Dalgleish, living in Luxembourg, exchanged work across Hemishpheres to explore the 'distance' between them. While they both experienced one extreme event after the next, ",[57,58,33],"em",{}," emerged as the distillation of their creative project.",[17,61,62,63,66],{},"Designed by Studio Katie Kerr, this carefully crafted publication continues an exploration on distance initiated with Stevenson's previous artist's book ",[57,64,65],{},"Someplace Else."," Signed limited edition copies are available to buy.",[68,69],"u-button",{"label":70,"size":71,"to":72,"trailing-icon":73},"Buy","lg","\u002Fshop\u002Fmaterial-distance","i-lucide-shopping-cart",{"title":15,"searchDepth":20,"depth":20,"links":75},[76],{"id":46,"depth":20,"text":33},"2026-01-01","2026",{},"\u002Fprojects\u002Fmaterial-distance",{"title":33,"description":82},"For three years, Stevenson and expatriate writer Jodie Dalgleish, living in Luxembourg, exchanged work across Hemishpheres to explore the 'distance' between them. While they both experienced one extreme event after the next, Material Distance emerged as the distillation of their creative project.","projects\u002Fmaterial-distance","FfoWfqRJ_ReHTRJnk3TPQFDR69WCVBq6BGsLvFgTbwg",{"id":86,"title":87,"body":88,"date":143,"description":144,"extension":22,"image":104,"meta":145,"navigation":24,"path":146,"seo":147,"stem":149,"__hash__":150},"projectItems\u002Fprojects\u002Funbound.md","Unbound",{"type":7,"value":89,"toc":140},[90],[37,91,93,96,99,105,108,111],{"className":92},[40,41,42],[44,94,87],{"id":95},"unbound",[17,97,98],{},"A boxed set of forty-eight small 'unbound' visual booklets from which a suite of twenty-five A4, limited edition, archival pigment prints were exhibited at Skar Image Lab, Tāmaki Makaurau Auckland.",[17,100,101],{},[50,102],{"alt":103,"src":104},"Unbound exhibition 1","\u002Fimg\u002Funbound\u002FA361034B-4498-46B0-8C2E-0B32095A76C5+2.webp",[17,106,107],{},"This intimate project tracks over several months an 'unbound' distracted gaze, unsettled by a pandemic world. Accepting the difficulty of focusing on anything in particular, the process of making these works relinquished any attempt at specificity and instead roamed freely across observational glimpses, fragments of traced shadows, and the simple flow of marks and spontaneous colours. Time is a contributing element in that the work emerged during lock-downs in which there were un-pressured hours to make. These images folded into small notebooks can be read as a fluid, changeable record of a peculiar and particular moment.",[17,109,110],{},"Archival Pigment Prints on A4 Hahnemuhle Photo Rag, Limited editions of 25",[112,113,114,120,125,130,135],"u-page-grid",{},[17,115,116],{},[50,117],{"alt":118,"src":119},"Unbound work","\u002Fimg\u002Funbound\u002FIMG_1116.webp",[17,121,122],{},[50,123],{"alt":118,"src":124},"\u002Fimg\u002Funbound\u002FIMG_1117.webp",[17,126,127],{},[50,128],{"alt":118,"src":129},"\u002Fimg\u002Funbound\u002FIMG_1118.webp",[17,131,132],{},[50,133],{"alt":118,"src":134},"\u002Fimg\u002Funbound\u002FIMG_1119.webp",[17,136,137],{},[50,138],{"alt":118,"src":139},"\u002Fimg\u002Funbound\u002F0F19ED66-4027-44ED-87D9-38B8E2B4C2BD.webp",{"title":15,"searchDepth":20,"depth":20,"links":141},[142],{"id":95,"depth":20,"text":87},"2022-01-02","2022",{},"\u002Fprojects\u002Funbound",{"title":87,"description":148},"A boxed set of forty-eight small 'unbound' visual booklets from which a suite of twenty-five A4, limited edition, archival pigment prints were exhibited at Skar Image Lab, Tāmaki Makaurau Auckland. ","projects\u002Funbound","Rc1OQb09x0zvKI2vhU_IgmOE7A6mWSqwXUxKdj9SN3s",{"id":152,"title":153,"body":154,"date":246,"description":144,"extension":22,"image":167,"meta":247,"navigation":24,"path":248,"seo":249,"stem":252,"__hash__":253},"projectItems\u002Fprojects\u002Fsomeplace-else-archive.md","Someplace Else: A Travel Archive - Corbans Estate Arts Centre",{"type":7,"value":155,"toc":243},[156],[37,157,159,162,168,177,180,186,192,199],{"className":158},[40,41,42],[44,160,153],{"id":161},"someplace-else-a-travel-archive-corbans-estate-arts-centre",[17,163,164],{},[50,165],{"alt":166,"src":167},"Exhibition photo 1","\u002Fimg\u002Fsomeplace-else-archive\u002FIMG_9418.webp",[17,169,170],{},[171,172,176],"a",{"href":173,"rel":174},"https:\u002F\u002Fceac.org.nz\u002Fexhibitions\u002Fsomeplace-else-a-travel-archive",[175],"nofollow","Solo Exhibition curated by Maddie Gifford",[17,178,179],{},"Photos by Ralph Brown",[17,181,182,185],{},[57,183,184],{},"Someplace Else: A Travel Archive"," speaks to anyone who has ever travelled and negotiated an inescapable pull between two places. Since 1991, Stevenson has been travelling back and forth between Aotearoa New Zealand and Budapest, Hungary. Through accumulated travel ephemera and intimate drawings, this long-running project grapples with poignant shifts in time, culture and geo-political landscapes; between a Moana island and an Eastern-European nation. Disruption to international travel brings these works into the uncertain situation many are experiencing now, nostalgia for travel and a precarious anticipation of when we can return to see loved ones, to travel again to our 'Someplace Else'.",[17,187,188],{},[171,189,191],{"href":190},"\u002Fpdf\u002Fsomeplace-else-archive\u002FLouise+Stevenson+Booklet_v2.pdf","Exhibition Booklet (PDF)",[17,193,194],{},[171,195,198],{"href":196,"rel":197},"https:\u002F\u002Fwww.thebigidea.nz\u002Fstories\u002Fopen-the-borders-expand-our-minds",[175],"The Big Idea - Soapbox article",[112,200,201,207,213,219,225,231,237],{},[17,202,203],{},[50,204],{"alt":205,"src":206},"Someplace else exhibition 1","\u002Fimg\u002Fsomeplace-else-archive\u002F1174F43F-C7D9-44B6-938A-8E8635172F89.webp",[17,208,209],{},[50,210],{"alt":211,"src":212},"Someplace else exhibition 2","\u002Fimg\u002Fsomeplace-else-archive\u002FIMG_9413.webp",[17,214,215],{},[50,216],{"alt":217,"src":218},"Someplace else exhibition 3","\u002Fimg\u002Fsomeplace-else-archive\u002FIMG_9414.webp",[17,220,221],{},[50,222],{"alt":223,"src":224},"Someplace else exhibition 4","\u002Fimg\u002Fsomeplace-else-archive\u002FIMG_9423.webp",[17,226,227],{},[50,228],{"alt":229,"src":230},"Someplace else exhibition 5","\u002Fimg\u002Fsomeplace-else-archive\u002FIMG_9425.webp",[17,232,233],{},[50,234],{"alt":235,"src":236},"Someplace else exhibition 6","\u002Fimg\u002Fsomeplace-else-archive\u002FIMG_9429.webp",[17,238,239],{},[50,240],{"alt":241,"src":242},"Someplace else exhibition 7","\u002Fimg\u002Fsomeplace-else-archive\u002FIMG_9433.webp",{"title":15,"searchDepth":20,"depth":20,"links":244},[245],{"id":161,"depth":20,"text":153},"2022-01-01",{},"\u002Fprojects\u002Fsomeplace-else-archive",{"title":153,"description":250},{"Someplace Else":251},"A Travel Archive speaks to anyone who has ever travelled and negotiated an inescapable pull between two places.","projects\u002Fsomeplace-else-archive","BR93RTw1l8-_NtQaR5wLb5KHrjcGFXySDl-WgyP09q4",{"id":255,"title":256,"body":257,"date":353,"description":354,"extension":22,"image":270,"meta":355,"navigation":24,"path":356,"seo":357,"stem":358,"__hash__":359},"projectItems\u002Fprojects\u002Fsomeplace-else-wall.md","Someplace Else: The Project Wall, Te Tuhi",{"type":7,"value":258,"toc":350},[259],[37,260,262,265,271,278,281,284,290,300],{"className":261},[40,41,42],[44,263,256],{"id":264},"someplace-else-the-project-wall-te-tuhi",[17,266,267],{},[50,268],{"alt":269,"src":270},"Someplace else project wall","\u002Fimg\u002Fsomeplace-else-wall\u002F_DSF7062web.webp",[17,272,273],{},[171,274,277],{"href":275,"rel":276},"https:\u002F\u002Ftetuhi.art\u002Fexhibition\u002Flouise-stevenson-someplace-else\u002F",[175],"Commissioned by Te Tuhi for the Project Wall",[17,279,280],{},"Curated by Andrew Kennedy",[17,282,283],{},"Photos by Sam Hartnett",[17,285,286,289],{},[57,287,288],{},"Someplace Else"," speaks to a desire for travel, to discovering and exploring other places. It highlights tensions between home and overseas, between tourist and citizen, between foreigner and resident. Currently, such travel reverie is particularly nostalgic, its future uncertain.",[17,291,292,293,299],{},"Out of a trans-national relationship between Hungary and Aotearoa New Zealand between 1991 and 2019, Stevenson accumulated a body of drawings - recently published in the artist's book ",[57,294,295],{},[171,296,288],{"href":297,"rel":298},"https:\u002F\u002Fwww.louisestevenson.net#\u002Fsomeplace-else-2021\u002F",[175],". She drew on travel ephemera such as airplane tickets, bus passes and museum entries to create intimate works, using stitching, pin-pricks and mark-making. This installation is a further re-mapping: unfolding along crease-lines of travel memory.",[112,301,302,308,314,320,326,332,338,344],{},[17,303,304],{},[50,305],{"alt":306,"src":307},"Somplace else works 1","\u002Fimg\u002Fsomeplace-else-wall\u002F_DSF7066web.webp",[17,309,310],{},[50,311],{"alt":312,"src":313},"Somplace else works 2","\u002Fimg\u002Fsomeplace-else-wall\u002F_DSF7067web.webp",[17,315,316],{},[50,317],{"alt":318,"src":319},"Somplace else works 3","\u002Fimg\u002Fsomeplace-else-wall\u002F_DSF7068web.webp",[17,321,322],{},[50,323],{"alt":324,"src":325},"Somplace else works 4","\u002Fimg\u002Fsomeplace-else-wall\u002F_DSF7071web.webp",[17,327,328],{},[50,329],{"alt":330,"src":331},"Somplace else works 5","\u002Fimg\u002Fsomeplace-else-wall\u002F_DSF7072web.webp",[17,333,334],{},[50,335],{"alt":336,"src":337},"Somplace else works 6","\u002Fimg\u002Fsomeplace-else-wall\u002F_DSF7073web.webp",[17,339,340],{},[50,341],{"alt":342,"src":343},"Somplace else works 7","\u002Fimg\u002Fsomeplace-else-wall\u002F_DSF7074web.webp",[17,345,346],{},[50,347],{"alt":348,"src":349},"Somplace else works 8","\u002Fimg\u002Fsomeplace-else-wall\u002F_DSF7063web.webp",{"title":15,"searchDepth":20,"depth":20,"links":351},[352],{"id":264,"depth":20,"text":256},"2021-01-02","2021",{},"\u002Fprojects\u002Fsomeplace-else-wall",{"title":256,"description":277},"projects\u002Fsomeplace-else-wall","YAs7lKAJYj6DhU9gtsIx3RBk1HWuo_BHl_tD4ZjKJ6o",{"id":361,"title":362,"body":363,"date":509,"description":354,"extension":22,"image":376,"meta":510,"navigation":24,"path":511,"seo":512,"stem":514,"__hash__":515},"projectItems\u002Fprojects\u002Fsomeplace-else.md","Someplace Else - A Book",{"type":7,"value":364,"toc":506},[365],[37,366,368,371,377,384,387,390,393,405,420,429,441,444],{"className":367},[40,41,42],[44,369,362],{"id":370},"someplace-else-a-book",[17,372,373],{},[50,374],{"alt":375,"src":376},"Someplace else book cover","\u002Fimg\u002Fsomeplace-else\u002FSE-1.webp",[17,378,379,380,383],{},"“",[57,381,382],{},"I had just wanted to go - perhaps like many other New Zealanders. And anywhere, I wasn't too fussed. A pull to go “overseas","”.",[17,385,386],{},"'Someplace Else' is a book project in response to recent border closures. This crafted first edition publication brings together drawings and recollections of travel between Hungary and New Zealand from 1991 - 2019. Travel ephemera such as airplane tickets, bus passes and museum entries prompted a long-term project. The intimate works on paper use collage, stitching, mark-making and pin-pricking.",[17,388,389],{},"The book highlights tensions of a trans-national relationship split between two places - between home and overseas, between foreigner and resident, between tourist and citizen. A familiar situation for many New Zealanders. Home, belonging and outsider-ness are constant themes in her practice, which is indelibly shaped by her upbringing in the Solomon Islands.",[17,391,392],{},"'Someplace Else' was made possible by the generous support of Creative New Zealand.",[17,394,395,396,404],{},"'Someplace Else' is a ",[397,398,399],"strong",{},[171,400,403],{"href":401,"rel":402},"https:\u002F\u002Fbestawards.co.nz\u002Fgraphic\u002Feditorial-and-books\u002Fstudio-katie-kerr\u002Fsomeplace-else\u002F",[175],"DINZ Best Awards 2021 Bronze Award Winner",".",[17,406,407,410,411,410,414,419],{},[57,408,409],{},"“A lavish handbound artist's book by Louise Stevenson concerning her decades of drifting repeatedly between Aotearoa New Zealand and Hungary—is a particularly vivid example of something many of us have probably thought about doing: a collection of the scintillating ephemera of travel preserved to look back on as we might a photo album.” —"," ",[397,412,413],{},"Chris Holdaway,",[171,415,418],{"href":416,"rel":417},"https:\u002F\u002Fcontemporaryhum.com\u002Fwriting\u002Fon-louise-stevensons-someplace-else\u002F",[175],"“On Louise Stevenson's 'Someplace Else'”",", essay for Contemporary HUM",[17,421,422,425,426],{},[57,423,424],{},"“Someplace Else speaks to everyone who has ever been or dreamed of being elsewhere. Each item in Stevenson's carefully considered collection of sculptural ephemera is loaded with meaning, calling on the viewer's own experience of being on the move in unchartered territory, whether that be a new country or new experience in their lives.”"," — ",[397,427,428],{},"Chloe Geoghegan, Curator, Te Uru Waitakere Contemporary Gallery",[17,430,431,425,434],{},[57,432,433],{},"“The crafted book, designed by Katie Kerr, is true to it's title - it's transportative”",[397,435,436],{},[171,437,440],{"href":438,"rel":439},"https:\u002F\u002Fwww.louisestevenson.net\u002Fs\u002FSomeplace-Else-article-HERE-magazine.pdf",[175],"HERE, issue 6, 2021",[68,442],{"label":70,"size":71,"to":443,"trailing-icon":73},"\u002Fshop\u002Fsomeplace-else",[112,445,446,452,458,464,470,476,482,488,494,500],{},[17,447,448],{},[50,449],{"alt":450,"src":451},"Someplace else book image 1","\u002Fimg\u002Fsomeplace-else\u002FSE-3.webp",[17,453,454],{},[50,455],{"alt":456,"src":457},"Someplace else book image 2","\u002Fimg\u002Fsomeplace-else\u002F_SKR6219.webp",[17,459,460],{},[50,461],{"alt":462,"src":463},"Someplace else book image 3","\u002Fimg\u002Fsomeplace-else\u002F_SKR6242.webp",[17,465,466],{},[50,467],{"alt":468,"src":469},"Someplace else book image 4","\u002Fimg\u002Fsomeplace-else\u002F_SKR6225.webp",[17,471,472],{},[50,473],{"alt":474,"src":475},"Someplace else book image 5","\u002Fimg\u002Fsomeplace-else\u002F_SKR6228.webp",[17,477,478],{},[50,479],{"alt":480,"src":481},"Someplace else book image 6","\u002Fimg\u002Fsomeplace-else\u002F_SKR6238.webp",[17,483,484],{},[50,485],{"alt":486,"src":487},"Someplace else book image 7","\u002Fimg\u002Fsomeplace-else\u002F_SKR6235.webp",[17,489,490],{},[50,491],{"alt":492,"src":493},"Someplace else book image 8","\u002Fimg\u002Fsomeplace-else\u002F_SKR6239+(1).webp",[17,495,496],{},[50,497],{"alt":498,"src":499},"Someplace else book image 9","\u002Fimg\u002Fsomeplace-else\u002F_SKR6236.webp",[17,501,502],{},[50,503],{"alt":504,"src":505},"Someplace else book image 10","\u002Fimg\u002Fsomeplace-else\u002F_SKR6256.webp",{"title":15,"searchDepth":20,"depth":20,"links":507},[508],{"id":370,"depth":20,"text":362},"2021-01-01",{},"\u002Fprojects\u002Fsomeplace-else",{"title":362,"description":513},"Collaboration with Frances Hansen, First Draft Gallery, Sydney ","projects\u002Fsomeplace-else","ovQD-o_czhCU6nXIc0tC4aqrYv2IjXKKhXgonDJbEDw",{"id":517,"title":184,"body":518,"date":587,"description":588,"extension":22,"image":589,"meta":590,"navigation":24,"path":591,"seo":592,"stem":594,"__hash__":595},"projectItems\u002Fprojects\u002Fsomeplace-else-travel-archive.md",{"type":7,"value":519,"toc":584},[520],[37,521,523,526,532,535,549,552,555,558],{"className":522},[40,41,42],[44,524,184],{"id":525},"someplace-else-a-travel-archive",[17,527,528],{},[50,529],{"alt":530,"src":531},"Someplace else gallery view 1","img\u002Fsomeplace-else-travel-archive\u002FRM+gallery+1.webp",[17,533,534],{},"RM gallery in Auckland, developing “Someplace Else: A Travel Archive”.",[112,536,537,543],{},[17,538,539],{},[50,540],{"alt":541,"src":542},"Someplace else in development 1","\u002Fimg\u002Fsomeplace-else-travel-archive\u002FIMG_5208+copy.webp",[17,544,545],{},[50,546],{"alt":547,"src":548},"Someplace else in development 2","\u002Fimg\u002Fsomeplace-else-travel-archive\u002FIMG_5230+copy.webp",[17,550,551],{},"“Someplace Else” is an ongoing 'travel archive' drawing project spanning almost thirty years of traveling between Hungary and New Zealand. In January 2020, a casual two week residency at the artist run space RM offered the opportunity to re-visit these works. Using travel ephemera such as boarding passes, tickets, entry documents and event passes, the drawings record an ongoing relationship with Hungary. Almost two hundred works on paper have accumulated over time. The intimate works use processes of stitching, pin-pricking, collage and layering.",[17,553,554],{},"Recent travel restrictions shed a different light on the project. The residency developed the work towards a cohesive project exploring the complexities of relationships between two places.",[17,556,557],{},"A one day working studio event showed the works for the first time.",[112,559,560,566,572,578],{},[17,561,562],{},[50,563],{"alt":564,"src":565},"Someplace else works 1","\u002Fimg\u002Fsomeplace-else-travel-archive\u002Frm+gallery+4+web.webp",[17,567,568],{},[50,569],{"alt":570,"src":571},"Someplace else works 2","\u002Fimg\u002Fsomeplace-else-travel-archive\u002Frm+gallery+5+web.webp",[17,573,574],{},[50,575],{"alt":576,"src":577},"Someplace else works 3","\u002Fimg\u002Fsomeplace-else-travel-archive\u002Frm+gallery+6+web.webp",[17,579,580],{},[50,581],{"alt":582,"src":583},"Someplace else works 4","\u002Fimg\u002Fsomeplace-else-travel-archive\u002Frm+gallery+10+web.webp",{"title":15,"searchDepth":20,"depth":20,"links":585},[586],{"id":525,"depth":20,"text":184},"2018-01-01","1991 - Ongoing","\u002Fimg\u002Fsomeplace-else-travel-archive\u002Frm+gallery+1+.webp",{},"\u002Fprojects\u002Fsomeplace-else-travel-archive",{"title":184,"description":593},"“Someplace Else” is an ongoing 'travel archive' drawing project spanning almost thirty years of traveling between Hungary and New Zealand.","projects\u002Fsomeplace-else-travel-archive","8h8VJIED_Dajxef2HShcYHaJr3_AMP15WCV3CV64vC8",{"id":597,"title":598,"body":599,"date":682,"description":683,"extension":22,"image":612,"meta":684,"navigation":24,"path":685,"seo":686,"stem":688,"__hash__":689},"projectItems\u002Fprojects\u002Fmilk-glass-light.md","Milk Glass Light",{"type":7,"value":600,"toc":679},[601],[37,602,604,607,613,616,636,639,653,656,676],{"className":603},[40,41,42],[44,605,598],{"id":606},"milk-glass-light",[17,608,609],{},[50,610],{"alt":611,"src":612},"Milk glass light in Elam building","\u002Fimg\u002Fmilk-glass-light\u002FPicture+4.webp",[17,614,615],{},"This project reveals a personal story that traces the global reach of industrial modernist objects. Researching a photographic archive gifted by her father, an architect with the Public Works Department in Nigeria throughout the 1950's, Stevenson noticed that a modernist glass light fitting in the black and white photos were also in an Auckland University building. These images were of a telephone exchange building in Aba, Nigeria, which had caught on fire. Other photographs show the building under construction, however due to mould on the negatives, display the effect of the building on fire. It's an uncanny retrospective foretelling of the building's fate. An identical light fitting was then discovered in an Auckland retro shop. Questions remain about the origin and production of these lights. Re-photographing the lights in the University building, re-representing the archival images, and footage of the object itself, bring together unlikely elements of this narrative spanning the globe and illuminating a trajectory of colonial-modern industrialisation.",[112,617,618,624,630],{},[17,619,620],{},[50,621],{"alt":622,"src":623},"Light in telephone exchange 1","\u002Fimg\u002Fmilk-glass-light\u002FAba+web.webp",[17,625,626],{},[50,627],{"alt":628,"src":629},"Light in telephone exchange 2","\u002Fimg\u002Fmilk-glass-light\u002FAba+1+web+.webp",[17,631,632],{},[50,633],{"alt":634,"src":635},"Light in telephone exchange 3","\u002Fimg\u002Fmilk-glass-light\u002FAba+2+web+.webp",[17,637,638],{},"Telephone Exchange, Aba, Nigeria 1950s",[112,640,641,647],{},[17,642,643],{},[50,644],{"alt":645,"src":646},"Telephone exchange under construction 1","\u002Fimg\u002Fmilk-glass-light\u002FBuilding1+web.webp",[17,648,649],{},[50,650],{"alt":651,"src":652},"Telephone exchange under construction 2","\u002Fimg\u002Fmilk-glass-light\u002FBuilding2+Web+.webp",[17,654,655],{},"Telephone Exchange under construction",[112,657,658,664,670],{},[17,659,660],{},[50,661],{"alt":662,"src":663},"Light in Elam B building 1","\u002Fimg\u002Fmilk-glass-light\u002Flight003+copy4x6.webp",[17,665,666],{},[50,667],{"alt":668,"src":669},"Light in Elam B building 2","\u002Fimg\u002Fmilk-glass-light\u002Flight004+4x6.webp",[17,671,672],{},[50,673],{"alt":674,"src":675},"Light in Elam B building 3","\u002Fimg\u002Fmilk-glass-light\u002Flight007+4x6.webp",[17,677,678],{},"Elam B building, University of Auckland, 2017",{"title":15,"searchDepth":20,"depth":20,"links":680},[681],{"id":606,"depth":20,"text":598},"2017-01-01","2017",{"imageAlt":598},"\u002Fprojects\u002Fmilk-glass-light",{"title":598,"description":687},"This project reveals a personal story that traces the global reach of industrial modernist objects.","projects\u002Fmilk-glass-light","klRipoga_xiqabWbG8khr2qvez311M4GhnKESHlxPrQ",{"id":691,"title":692,"body":693,"date":757,"description":758,"extension":22,"image":706,"meta":759,"navigation":24,"path":760,"seo":761,"stem":763,"__hash__":764},"projectItems\u002Fprojects\u002Ftransparencies.md","Transparencies",{"type":7,"value":694,"toc":754},[695],[37,696,698,701,707,710,713,716],{"className":697},[40,41,42],[44,699,692],{"id":700},"transparencies",[17,702,703],{},[50,704],{"alt":705,"src":706},"Transparencies 1","\u002Fimg\u002Ftransparencies\u002Ftransparencies+1+web.webp",[17,708,709],{},"“Transparencies” explores a trajectory of tropical modern architecture from Africa to the Pacific during the 1950s to 1970s. This project experiments with 35 mm colour slides from an archive gifted by Stevenson's father, who was an architect for the British colonial service in Nigeria and Solomon Islands. These images exploit faults in the analogue slides such as mould blooms, scratches, odd colours and incorrect exposures in a manual process: layered slides on a light box that are rephotographed. The works attempt to cast an alternative light on an era of colonial-modernism in the tropics.",[17,711,712],{},"The works juxtapose imagery from Nigeria to the Solomon Islands, including colonial infrastructure such as General post offices, telephone exchange buildings, training schools and Public Works Department buildings. They are from a larger body of images and moving image pieces in progress that searches to identify a decolonising dialogue between colonial-modern architectural structures and contemporary perspectives in post-colonial countries.",[17,714,715],{},"Exhibited at ArtWest Exhibition, Auckland, 2018. Awarded photographic prize, judged by curator Ioana Gordon-Smith.",[112,717,718,724,730,736,742,748],{},[17,719,720],{},[50,721],{"alt":722,"src":723},"Transparencies 2","\u002Fimg\u002Ftransparencies\u002FIMG_3803cb+copy.webp",[17,725,726],{},[50,727],{"alt":728,"src":729},"Transparencies 3","\u002Fimg\u002Ftransparencies\u002FIMG_3812cb+copy.webp",[17,731,732],{},[50,733],{"alt":734,"src":735},"Transparencies 4","\u002Fimg\u002Ftransparencies\u002Ftransparencies+2+web.webp",[17,737,738],{},[50,739],{"alt":740,"src":741},"Transparencies 5","\u002Fimg\u002Ftransparencies\u002Ftransparencies+3+web.webp",[17,743,744],{},[50,745],{"alt":746,"src":747},"Transparencies 6","\u002Fimg\u002Ftransparencies\u002Ftransparencies+6+web.webp",[17,749,750],{},[50,751],{"alt":752,"src":753},"Transparencies 7","\u002Fimg\u002Ftransparencies\u002Ftransprencies+4+web.webp",{"title":15,"searchDepth":20,"depth":20,"links":755},[756],{"id":700,"depth":20,"text":692},"2015-01-03","2015",{},"\u002Fprojects\u002Ftransparencies",{"title":692,"description":762},"“Transparencies” explores a trajectory of tropical modern architecture from Africa to the Pacific during the 1950s to 1970s.","projects\u002Ftransparencies","WbapGR3Icbtr5z4sPZXA37h8TAv5N3BvYMCIVVQ3Urg",{"id":766,"title":767,"body":768,"date":819,"description":758,"extension":22,"image":797,"meta":820,"navigation":24,"path":821,"seo":822,"stem":824,"__hash__":825},"projectItems\u002Fprojects\u002Fcommunications-building.md","\"For writing letters and putting stamps on\"",{"type":7,"value":769,"toc":816},[770],[37,771,773,776,786,789,792,798,803],{"className":772},[40,41,42],[44,774,767],{"id":775},"for-writing-letters-and-putting-stamps-on",[777,778],"iframe",{"allow":779,"allow-full-screen":780,"frame-border":781,"referrer-policy":782,"src":783,"style":784,"title":785},"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share","true","0","strict-origin-when-cross-origin","https:\u002F\u002Fwww.youtube.com\u002Fembed\u002FBcOK4ROsVTY?si=CJ85s4xF_BFwVPaF","aspect-ratio: 16\u002F9; width: 100%;","YouTube video player",[17,787,788],{},"Excerpt from HD film, looped, 9.5min",[17,790,791],{},"Film stills",[17,793,794],{},[50,795],{"alt":796,"src":797},"Communications building still image","\u002Fimg\u002Fcommunications-building\u002Fpost-office-imageweb.webp",[17,799,800],{},[50,801],{"alt":796,"src":802},"\u002Fimg\u002Fcommunications-building\u002Fpost-officeweb.webp",[17,804,805,806,809,810,815],{},"\"for writing letters and putting stamps on\" re-encounters the General Post Office in Honiara, Solomon Islands. Interwoven archival imagery, contemporary footage, still images and a recorded interview between Stevenson and her father, who designed the building in 1968, juxtapose colonial perspectives with contemporary realities. Stevenson's paper \"",[397,807,808],{},"Communications Building: Tropical Modern Architecture from West Africa to the Pacific",",\" in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 31, Translation, edited by Christoph Schnoor (Auckland, New Zealand: SAHANZ and Unitec ePress; and Gold Coast, Queensland: SAHANZ, 2014), 851-863. (",[171,811,814],{"href":812,"target":813},"\u002Fpdf\u002Fcommunications-building\u002FCommunications-Building_Tropical-Modern-Architecture-from-West-Africa-to-the-Pacific-by-Louise-Stevenson.pdf","\\_blank","Read PDF",") expands the historical and contemporary context of this building.",{"title":15,"searchDepth":20,"depth":20,"links":817},[818],{"id":775,"depth":20,"text":767},"2015-01-02",{},"\u002Fprojects\u002Fcommunications-building",{"title":767,"description":823},"\"for writing letters and putting stamps on\" re-encounters the General Post Office in Honiara, Solomon Islands.","projects\u002Fcommunications-building","3xZoaaakhfrB-fzBP3_V3t4GwP-UJrBM_PXcymTs6Wk",{"id":827,"title":828,"body":829,"date":876,"description":758,"extension":22,"image":859,"meta":877,"navigation":24,"path":878,"seo":879,"stem":881,"__hash__":882},"projectItems\u002Fprojects\u002Fsea-sight-site.md","Sea, Sight, Site",{"type":7,"value":830,"toc":873},[831],[37,832,834,837,840,843,846,866],{"className":833},[40,41,42],[44,835,828],{"id":836},"sea-sight-site",[777,838],{"allow":779,"allow-full-screen":780,"frame-border":781,"referrer-policy":782,"src":839,"style":784,"title":785},"https:\u002F\u002Fwww.youtube.com\u002Fembed\u002FDLfVBYt383I?si=4F0CUVeBdFUVHkxr",[17,841,842],{},"Excerpt from HD film, sound, 4min, viewed as looped projection.",[17,844,845],{},"Film Stills",[112,847,848,854,860],{},[17,849,850],{},[50,851],{"alt":852,"src":853},"Sea sight site still 1","\u002Fimg\u002Fsea-sight-site\u002Fimage15web.webp",[17,855,856],{},[50,857],{"alt":858,"src":859},"Sea sight site still 2","\u002Fimg\u002Fsea-sight-site\u002FSea,-Sight,-Siteimage10web.webp",[17,861,862],{},[50,863],{"alt":864,"src":865},"Sea sight site still 3","\u002Fimg\u002Fsea-sight-site\u002FSea,+Sight,+Siteimage+3.webp",[17,867,868,869,872],{},"Screened in the exhibition ",[57,870,871],{},"Drawing Is \u002F Not Building",", Adam Art Gallery, Victoria University of Wellington, 2015, the work is a film-sketch and meditation on expatriate experience. Notions of sightseeing and 'site-seeing' are collapsed with speed and transiency. The footage is from Honiara and the coast of Guadalcanal, Solomon Islands.",{"title":15,"searchDepth":20,"depth":20,"links":874},[875],{"id":836,"depth":20,"text":828},"2015-01-01",{},"\u002Fprojects\u002Fsea-sight-site",{"title":828,"description":880},"Screened in the exhibition Drawing Is \u002F Not Building, Adam Art Gallery, Victoria University of Wellington, 2015, the work is a film-sketch and meditation on expatriate experience.","projects\u002Fsea-sight-site","7WsIOLJTxQxspsRvcVQWQAwz1H9e-6vUZe3Jfj1bTys",{"id":884,"title":885,"body":886,"date":976,"description":977,"extension":22,"image":899,"meta":978,"navigation":24,"path":979,"seo":980,"stem":982,"__hash__":983},"projectItems\u002Fprojects\u002Fsolomon-islands-national-library.md","The National Solomon Island Library",{"type":7,"value":887,"toc":973},[888],[37,889,891,894,900,906,909,923,926,964,970],{"className":890},[40,41,42],[44,892,885],{"id":893},"the-national-solomon-island-library",[17,895,896],{},[50,897],{"alt":898,"src":899},"Solomon Islands national library installation 1","\u002Fimg\u002Fsolomon-islands-national-library\u002Flibrary-install2-copyweb.webp",[17,901,902],{},[50,903],{"alt":904,"src":905},"Solomon Islands national library installation 2","\u002Fimg\u002Fsolomon-islands-national-library\u002F1076-copy-copy-2web.webp",[17,907,908],{},"Installation view: cabinets at Auckland City Library",[112,910,911,917],{},[17,912,913],{},[50,914],{"alt":915,"src":916},"Solomon Islands national library installation 3","\u002Fimg\u002Fsolomon-islands-national-library\u002F1131-copy-copy-3web.webp",[17,918,919],{},[50,920],{"alt":921,"src":922},"Solomon Islands national library installation 4","\u002Fimg\u002Fsolomon-islands-national-library\u002F1139-copy-copy-3web.webp",[17,924,925],{},"Images",[112,927,928,934,940,946,952,958],{},[17,929,930],{},[50,931],{"alt":932,"src":933},"Solomon Islands national libarary image 1","\u002Fimg\u002Fsolomon-islands-national-library\u002Flibrary1-copycropweb.webp",[17,935,936],{},[50,937],{"alt":938,"src":939},"Solomon Islands national libarary image 2","\u002Fimg\u002Fsolomon-islands-national-library\u002Flibrary2-copycropweb.webp",[17,941,942],{},[50,943],{"alt":944,"src":945},"Solomon Islands national libarary image 3","\u002Fimg\u002Fsolomon-islands-national-library\u002Flibrary3-copyweb.webp",[17,947,948],{},[50,949],{"alt":950,"src":951},"Solomon Islands national libarary image 4","\u002Fimg\u002Fsolomon-islands-national-library\u002Flibrary4-copyweb.webp",[17,953,954],{},[50,955],{"alt":956,"src":957},"Solomon Islands national libarary image 5","\u002Fimg\u002Fsolomon-islands-national-library\u002Flibrary5-copyweb.webp",[17,959,960],{},[50,961],{"alt":962,"src":963},"Solomon Islands national libarary image 7","\u002Fimg\u002Fsolomon-islands-national-library\u002Flibrary7-copyweb.webp",[17,965,966],{},[50,967],{"alt":968,"src":969},"Solomon Islands national libarary image 6","\u002Fimg\u002Fsolomon-islands-national-library\u002Flibrary6-copyweb.webp",[17,971,972],{},"A series of photographs and accompanying text on re-visiting the Solomon Islands National Library. Installed in seven cabinets at the Auckland City Library. The photographs were taken in 2011. Built in Honiara in 1967, the building was designed by Stevenson's father. In 2000, in the wake of the ethnic uprising in Honiara, the library closed, re-opening in 2003 with the assistance of the Australian Government through AusAID.",{"title":15,"searchDepth":20,"depth":20,"links":974},[975],{"id":893,"depth":20,"text":885},"2013-01-01","2013",{},"\u002Fprojects\u002Fsolomon-islands-national-library",{"title":885,"description":981},"A series of photographs and accompanying text on re-visiting the Solomon Islands National Library.","projects\u002Fsolomon-islands-national-library","qVln_GqKSxhoM-FFcmWWzrgBs5-XpnUr8POVteQnP48",{"id":985,"title":986,"body":987,"date":1052,"description":1053,"extension":22,"image":1009,"meta":1054,"navigation":24,"path":1055,"seo":1056,"stem":1058,"__hash__":1059},"projectItems\u002Fprojects\u002Fin-conversation-with-the-architect.md","In Conversation with the Architect",{"type":7,"value":988,"toc":1049},[989],[37,990,992,995,998,1001,1004,1010,1016,1018,1024,1030,1036],{"className":991},[40,41,42],[44,993,986],{"id":994},"in-conversation-with-the-architect",[777,996],{"allow":779,"allow-full-screen":780,"frame-border":781,"referrer-policy":782,"src":997,"style":784,"title":785},"https:\u002F\u002Fwww.youtube.com\u002Fembed\u002FNyOciZYx2QQ?si=RDJCEmcpYbl0YwwV",[17,999,1000],{},"HD video, colour, silent, looped 18min.",[17,1002,1003],{},"Installation view, Images and Islands, Mangere Arts Centre, Auckland, 2013",[17,1005,1006],{},[50,1007],{"alt":1008,"src":1009},"In conversation with an architect installation 1","\u002Fimg\u002Fin-conversation-with-the-architect\u002F5828web.webp",[17,1011,1012],{},[50,1013],{"alt":1014,"src":1015},"In conversation with an architect installation 2","\u002Fimg\u002Fin-conversation-with-the-architect\u002F5830web.webp",[17,1017,845],{},[17,1019,1020],{},[50,1021],{"alt":1022,"src":1023},"Film still 1","\u002Fimg\u002Fin-conversation-with-the-architect\u002FFig18-copyweb.webp",[17,1025,1026],{},[50,1027],{"alt":1028,"src":1029},"Film still 2","\u002Fimg\u002Fin-conversation-with-the-architect\u002Ffig19-copyweb.webp",[17,1031,1032],{},[50,1033],{"alt":1034,"src":1035},"Film still 3","\u002Fimg\u002Fin-conversation-with-the-architect\u002FFig21-copy.webp",[17,1037,1038,1039,1042,1043,1048],{},"This work re-visits a conversation with Stevenson's father, Charles Stevenson, about the King George Sixth Secondary School in Honiara, which he designed in 1964. Their discussion is enacted through their hands pointing to Stevenson's footage of the building fifty years later in 2011 (on the left), while an edited text of the dialogue runs in parallel to this (on the right). The work considers issues at stake in the inter-relationship between spoken word and materiality via conversation, architectural history and representational imagery. Stevenson discusses this work in her paper ",[397,1040,1041],{},"(Re)constructing Tropical Architecture in Solomon Islands: Conversations with my Father",", Fabrications: The Journal of the Society of Architectural Historians, Australia and New Zealand, 24:2, 214-243 (",[171,1044,1047],{"href":1045,"rel":1046},"http:\u002F\u002Fdx.doi.org\u002F10.1080\u002F10331867.2014.961231",[175],"Read online",")",{"title":15,"searchDepth":20,"depth":20,"links":1050},[1051],{"id":994,"depth":20,"text":986},"2012-01-03","2011",{},"\u002Fprojects\u002Fin-conversation-with-the-architect",{"title":986,"description":1057},"This work re-visits a conversation with Stevenson's father, Charles Stevenson, about the King George Sixth Secondary School in Honiara, which he designed in 1964.","projects\u002Fin-conversation-with-the-architect","WLQ923BuJPStVWjkwcffgTbQnkdg5-6osG6IV-VmEIA",{"id":1061,"title":1062,"body":1063,"date":1149,"description":1150,"extension":22,"image":1076,"meta":1151,"navigation":24,"path":1152,"seo":1153,"stem":1155,"__hash__":1156},"projectItems\u002Fprojects\u002Fking-george-vi-secondary-school.md","King George VI Secondary School",{"type":7,"value":1064,"toc":1146},[1065],[37,1066,1068,1071,1077,1083,1086,1089,1136],{"className":1067},[40,41,42],[44,1069,1062],{"id":1070},"king-george-vi-secondary-school",[17,1072,1073],{},[50,1074],{"alt":1075,"src":1076},"King George VI Secondary School installation 1","\u002Fimg\u002Fking-george-vi-secondary-school\u002F20121107_2726-copyweb.webp",[17,1078,1079],{},[50,1080],{"alt":1081,"src":1082},"King George VI Secondary School installation 2","\u002Fimg\u002Fking-george-vi-secondary-school\u002F20121107_2731-copyweb.webp",[17,1084,1085],{},"Installation view: Images and Islands, Mangere Arts Centre, Auckland, 2013.",[17,1087,1088],{},"Selected images: inkjet digital prints on Ilford galerie gloss.",[112,1090,1091,1096,1101,1106,1111,1116,1121,1126,1131],{},[17,1092,1093],{},[50,1094],{"alt":1062,"src":1095},"\u002Fimg\u002Fking-george-vi-secondary-school\u002F7374-5-7web.webp",[17,1097,1098],{},[50,1099],{"alt":1062,"src":1100},"\u002Fimg\u002Fking-george-vi-secondary-school\u002F7440-4-5-copyweb.webp",[17,1102,1103],{},[50,1104],{"alt":1062,"src":1105},"\u002Fimg\u002Fking-george-vi-secondary-school\u002F7548-1-1-copyweb.webp",[17,1107,1108],{},[50,1109],{"alt":1062,"src":1110},"\u002Fimg\u002Fking-george-vi-secondary-school\u002F7573v2-1-1_1_1-copyweb.webp",[17,1112,1113],{},[50,1114],{"alt":1062,"src":1115},"\u002Fimg\u002Fking-george-vi-secondary-school\u002F7579v2-4-5_1-copyweb.webp",[17,1117,1118],{},[50,1119],{"alt":1062,"src":1120},"\u002Fimg\u002Fking-george-vi-secondary-school\u002F8273-4-5-copyweb.webp",[17,1122,1123],{},[50,1124],{"alt":1062,"src":1125},"\u002Fimg\u002Fking-george-vi-secondary-school\u002F8325v2-4-5-copyweb.webp",[17,1127,1128],{},[50,1129],{"alt":1062,"src":1130},"\u002Fimg\u002Fking-george-vi-secondary-school\u002F8527v2-4-5-copyweb.webp",[17,1132,1133],{},[50,1134],{"alt":1062,"src":1135},"\u002Fimg\u002Fking-george-vi-secondary-school\u002F8556v2-5-7web.webp",[17,1137,1138,1139,1142,1143,1048],{},"A photographic series exploring the King George Secondary School in Honiara, Solomon Islands. Built in 1964 it was the first government co-educational boarding school in the Islands. Funded by the British Colonial Administration it was part of a policy to develop future independence for the islands. Stevenson grew up in Honiara and her father, Charles Stevenson, was the architect of the school complex. The architecture reveals a translation of tropical modern architecture from West Africa to the Pacific region. The revisiting of this site draws on a subjective relationship to the place and her father's perspective. Stevenson discusses this building in her paper \"",[397,1140,1141],{},"(Re)constructing Tropical Architecture in Solomon Islands: Conversations with my Father,","\" Fabrications: The Journal of the Society of Architectural Historians, Australia and New Zealand, 24:2, 214-243 (",[171,1144,1047],{"href":1045,"rel":1145},[175],{"title":15,"searchDepth":20,"depth":20,"links":1147},[1148],{"id":1070,"depth":20,"text":1062},"2012-01-02","2012",{},"\u002Fprojects\u002Fking-george-vi-secondary-school",{"title":1062,"description":1154},"A photographic series exploring the King George Secondary School in Honiara, Solomon Islands.","projects\u002Fking-george-vi-secondary-school","W8rBvOJfsdVLpFLRGPtxcK1k3VxAG0xuAqGREtlhtfs",{"id":1158,"title":1159,"body":1160,"date":1206,"description":1150,"extension":22,"image":1175,"meta":1207,"navigation":24,"path":1208,"seo":1209,"stem":1211,"__hash__":1212},"projectItems\u002Fprojects\u002Fmotifs-adrift.md","Motifs Adrift",{"type":7,"value":1161,"toc":1203},[1162],[37,1163,1165,1168,1188,1191,1197,1200],{"className":1164},[40,41,42],[44,1166,1159],{"id":1167},"motifs-adrift",[112,1169,1170,1176,1182],{},[17,1171,1172],{},[50,1173],{"alt":1174,"src":1175},"Motifs adrift installation 1","\u002Fimg\u002Fmotifs-adrift\u002F20121107_2724-copyweb.webp",[17,1177,1178],{},[50,1179],{"alt":1180,"src":1181},"Motifs adrift installation 2","\u002Fimg\u002Fmotifs-adrift\u002F20121107_2721-copyweb.webp",[17,1183,1184],{},[50,1185],{"alt":1186,"src":1187},"Motifs adrift installation 3","\u002Fimg\u002Fmotifs-adrift\u002F20121107_2722-copyweb.webp",[17,1189,1190],{},"Three Channel Video, looped, sound, 2min. Installation: George Fraser Gallery, Masters of Fine Arts exhibition (2012)",[17,1192,1193],{},[50,1194],{"alt":1195,"src":1196},"West Facing Wall","\u002Fimg\u002Fmotifs-adrift\u002FFig3-copy-2web.webp",[17,1198,1199],{},"West Facing Wall, digital print, 60 x 95cm, 2012",[17,1201,1202],{},"The three monitor video work synchronises images of murals in the King George Secondary School in Honiara with related images from the publication Images and Islands: Grassroots Art of the Solomon Islands (published in 1978, the year of Solomon Island Independence) and alongside footage of artefacts in the Auckland Museum's Pacific collection. Complex migrations, entangled usage and transformations of traditional motifs are highlighted. The work was exhibited for a Master of Fine Arts at Auckland University, 2012, and included in the exhibition Images and Islands, Mangere Arts Centre, 2013.",{"title":15,"searchDepth":20,"depth":20,"links":1204},[1205],{"id":1167,"depth":20,"text":1159},"2012-01-01",{},"\u002Fprojects\u002Fmotifs-adrift",{"title":1159,"description":1210},"Three Channel Video, looped, sound, 2min.","projects\u002Fmotifs-adrift","cmQJV15jHf3e1tQb5mMnNuhInzA6T4J9gTWK1CAPfr8",{"id":1214,"title":1215,"body":1216,"date":1251,"description":1053,"extension":22,"image":1229,"meta":1252,"navigation":24,"path":1253,"seo":1254,"stem":1256,"__hash__":1257},"projectItems\u002Fprojects\u002Fthe-guadacanal-club.md","The Guadalcanal Club",{"type":7,"value":1217,"toc":1248},[1218],[37,1219,1221,1224,1230,1233,1239,1245],{"className":1220},[40,41,42],[44,1222,1215],{"id":1223},"the-guadalcanal-club",[17,1225,1226],{},[50,1227],{"alt":1228,"src":1229},"The Guadacanal club installation","\u002Fimg\u002Fguadacanal-club\u002FIMG_2223-copyweb.webp",[17,1231,1232],{},"Digital prints, 120 x 76cm.",[17,1234,1235],{},[50,1236],{"alt":1237,"src":1238},"The Guadacanal club in the 1970's","\u002Fimg\u002Fguadacanal-club\u002FGlub70sweb.webp",[17,1240,1241],{},[50,1242],{"alt":1243,"src":1244},"The Guadacanal club in 2011","\u002Fimg\u002Fguadacanal-club\u002F_MG_7942-copy-2web.webp",[17,1246,1247],{},"A 'hinge' mechanism that intrinsically links colonial to postcolonial relations, past and present is explored within this work. The Guadalcanal Club was an expatriate social club in Honiara from the 1960s to mid-1990s. Built on the structure of an American World War II quonset hut it was designed in 1960.",{"title":15,"searchDepth":20,"depth":20,"links":1249},[1250],{"id":1223,"depth":20,"text":1215},"2011-01-04",{},"\u002Fprojects\u002Fthe-guadacanal-club",{"title":1215,"description":1255},"The Guadalcanal Club was an expatriate social club in Honiara from the 1960s to mid-1990s.","projects\u002Fthe-guadacanal-club","-kML4S4Q7vWeuPikDuM3q4A7_5F9xaV6tXYA2dRSzmg",{"id":1259,"title":1260,"body":1261,"date":1382,"description":1053,"extension":22,"image":1274,"meta":1383,"navigation":24,"path":1384,"seo":1385,"stem":1387,"__hash__":1388},"projectItems\u002Fprojects\u002Fyou-me-now.md","You Me Now",{"type":7,"value":1262,"toc":1379},[1263],[37,1264,1266,1269,1275,1278,1283,1322,1327,1343,1346,1372],{"className":1265},[40,41,42],[44,1267,1260],{"id":1268},"you-me-now",[17,1270,1271],{},[50,1272],{"alt":1273,"src":1274},"You me now installation","\u002Fimg\u002Fyou-me-now\u002FYou-Me-Now-booksweb.webp",[17,1276,1277],{},"Set of artist booklets in response to re-visiting several buildings in Honiara built during the colonial period 1960 -1978. Funded by a National Institute of Creative Arts and Industries, University of Auckland scholarship.",[17,1279,1280],{},[57,1281,1282],{},"7 x A5 soft bound booklets (2011):",[1284,1285,1286,1292,1297,1302,1307,1312,1317],"ol",{},[1287,1288,1289],"li",{},[57,1290,1291],{},"You Me Now (text)",[1287,1293,1294],{},[57,1295,1296],{},"Guadalcanal Club 1965",[1287,1298,1299],{},[57,1300,1301],{},"Guadalcanal Post Office 1968",[1287,1303,1304],{},[57,1305,1306],{},"Honiara Public Library 1967",[1287,1308,1309],{},[57,1310,1311],{},"King George Secondary School 1964",[1287,1313,1314],{},[57,1315,1316],{},"Publics Works Department 1961",[1287,1318,1319],{},[57,1320,1321],{},"Solomon Island High Court 1962",[17,1323,1324],{},[57,1325,1326],{},"Special Collections, Elam Fine Arts Library, University of Auckland",[17,1328,1329,1331,1332,1335,1336,1339,1340,404],{},[57,1330,1260],{}," is a reference to the Pijin English term, ",[57,1333,1334],{},"Uminao"," or ",[57,1337,1338],{},"Iu Mi Nao",". It indicates relationship and time, the incorporation of the past in the present. It could also mean ",[57,1341,1342],{},"Us Together Now",[17,1344,1345],{},"This project observes the current state and usage of buildings of colonial infrastructure in Honiara. The buildings, built during the 1960s and 1970s, were of a modernist style of architecture. The work is a double looking, an attempt to “see\" the mechanisms of the colonialism and what it presents now. The legacy of colonialism occupies Honiara and the physical colonial infrastructure continues to assert its presence. Not only historically, but in terms of it's complicated incorporation into the economic, political and social fabric of the Solomon Islands.",[112,1347,1348,1354,1360,1366],{},[17,1349,1350],{},[50,1351],{"alt":1352,"src":1353},"Misaligned horizons 1","\u002Fimg\u002Fyou-me-now\u002Fuminao+2+web.webp",[17,1355,1356],{},[50,1357],{"alt":1358,"src":1359},"Misaligned horizons 2","\u002Fimg\u002Fyou-me-now\u002Fuminao+3+web.webp",[17,1361,1362],{},[50,1363],{"alt":1364,"src":1365},"Misaligned horizons 3","\u002Fimg\u002Fyou-me-now\u002Fuminao+web4.webp",[17,1367,1368],{},[50,1369],{"alt":1370,"src":1371},"Misaligned horizons 4","\u002Fimg\u002Fyou-me-now\u002FUminnao+web.webp",[17,1373,1374,1375],{},"Selected pages from the books. For the text accompanying these books ",[171,1376,1378],{"href":1377,"target":813},"\u002Fpdf\u002Fyou-me-now\u002Fyoumenow-book.pdf","see PDF document.",{"title":15,"searchDepth":20,"depth":20,"links":1380},[1381],{"id":1268,"depth":20,"text":1260},"2011-01-03",{},"\u002Fprojects\u002Fyou-me-now",{"title":1260,"description":1386},"Set of artist booklets in response to re-visiting several buildings in Honiara built during the colonial period 1960 -1978","projects\u002Fyou-me-now","1sooUh62ukyQ28iKhqUMDZIGtV9g-5FV847tOxHVBjo",{"id":1390,"title":1391,"body":1392,"date":1443,"description":1053,"extension":22,"image":1405,"meta":1444,"navigation":24,"path":1445,"seo":1446,"stem":1447,"__hash__":1448},"projectItems\u002Fprojects\u002Fmisaligned-horizons.md","Misaligned Horizons",{"type":7,"value":1393,"toc":1440},[1394],[37,1395,1397,1400,1406,1409,1437],{"className":1396},[40,41,42],[44,1398,1391],{"id":1399},"misaligned-horizons",[17,1401,1402],{},[50,1403],{"alt":1404,"src":1405},"Misaligned horizons installation","\u002Fimg\u002Fmisaligned-horizons\u002Fsailing-woodlands.webp",[17,1407,1408],{},"Digital prints, 30 x 25cm (2011). Installation for Post Graduate Diploma of FIne Arts, University of Auckland",[112,1410,1411,1416,1421,1426,1431],{},[17,1412,1413],{},[50,1414],{"alt":1352,"src":1415},"\u002Fimg\u002Fmisaligned-horizons\u002Fmisaligned-horizons1web1.webp",[17,1417,1418],{},[50,1419],{"alt":1358,"src":1420},"\u002Fimg\u002Fmisaligned-horizons\u002Fmisaligned-horizons2web1.webp",[17,1422,1423],{},[50,1424],{"alt":1364,"src":1425},"\u002Fimg\u002Fmisaligned-horizons\u002Fmisaligned-horizons3web1.webp",[17,1427,1428],{},[50,1429],{"alt":1370,"src":1430},"\u002Fimg\u002Fmisaligned-horizons\u002Fmisaligned-horizons4web.webp",[17,1432,1433],{},[50,1434],{"alt":1435,"src":1436},"Misaligned horizons 5","\u002Fimg\u002Fmisaligned-horizons\u002Fmisaligned-Horizons5web1.webp",[17,1438,1439],{},"In this series the horizon line, as juncture between sea, sky and land, acts as a hinging mechanism. It provides a means of co-ordinating ones position in relationship to a space \u002F place, if not always in usual western terms. In island navigation there's another perspective: a boat is fixed on the ocean while islands and land surge forwards and past in relationship to the vessel. The ubiquity of these family snapshots requires navigating; they elude meaning and embody a sense of refusal. Mis-interpretation and memory-failure interrupt, while in the reprinting processes the image shifts from analogue to digital and being digitally “corrected” or left “uncorrected”. There's a “slipperiness” in materiality and content: a misalignment.",{"title":15,"searchDepth":20,"depth":20,"links":1441},[1442],{"id":1399,"depth":20,"text":1391},"2011-01-02",{},"\u002Fprojects\u002Fmisaligned-horizons",{"title":1391,"description":1408},"projects\u002Fmisaligned-horizons","k_MuGZRFEYVJ21LtgbiL2MoYZv6NE1mv4hsJFfMIpFE",{"id":1450,"title":1451,"body":1452,"date":1496,"description":1053,"extension":22,"image":1465,"meta":1497,"navigation":24,"path":1498,"seo":1499,"stem":1501,"__hash__":1502},"projectItems\u002Fprojects\u002Fme-look-you.md","Me Look You",{"type":7,"value":1453,"toc":1493},[1454],[37,1455,1457,1460,1466,1478,1481,1487],{"className":1456},[40,41,42],[44,1458,1451],{"id":1459},"me-look-you",[17,1461,1462],{},[50,1463],{"alt":1464,"src":1465},"Me look you installation","\u002Fimg\u002Fme-look-you\u002Fpgdip-book-installationweb.webp",[17,1467,1468,1469,1472,1473,1477],{},"Artist books: ",[171,1470,1451],{"href":1471,"target":813},"\u002Fpdf\u002Fme-look-you\u002Fmelookyou.pdf",", A3 hardbound book with slipcase, ",[171,1474,1476],{"href":1475,"target":813},"\u002Fpdf\u002Fme-look-you\u002Fprogression.pdf","Progression - Corrections \u002F Failures"," A4 softbound book",[17,1479,1480],{},"Special Collections, Elam School of Fine Arts Library, Auckland University",[17,1482,1483],{},[50,1484],{"alt":1485,"src":1486},"Me look you book","\u002Fimg\u002Fme-look-you\u002FIMG_0188web.webp",[17,1488,1489,1490,1492],{},"“Mi Lukim Iu” is Pidgin English for “I see you” or “I am seeing you”, and it can also mean “goodbye” or “see you later”. Here the term encompasses ambiguity, as well as notions of a “gaze” and the activity of looking in relation to time. Images of boats and sea reference location as fluid and unfixed, referring to an Oceanic condition of movement and migration. In examining family archival photographs an “editorial gaze” utilizes the photographer's looking to try to activate the images; enquiring into the past, and its implications in the present. The contemporary viewer's subjectivity collapses and conflicts with that of the original photographers'. This is interpreted in notations in the accompanying soft bound book ",[57,1491,1476],{},", in an attempt to simultaneously track memory as well as the visual processes used to negotiate these images.",{"title":15,"searchDepth":20,"depth":20,"links":1494},[1495],{"id":1459,"depth":20,"text":1451},"2011-01-01",{},"\u002Fprojects\u002Fme-look-you",{"title":1451,"description":1500},"Mi Lukim Iu” is Pidgin English for “I see you” or “I am seeing you”, and it can also mean “goodbye” or “see you later”.","projects\u002Fme-look-you","Er3skJ7CrT5eqB7QXU9Q54iU0RBvyhxfjrG717sU71E",{"id":1504,"title":1505,"body":1506,"date":1541,"description":1542,"extension":22,"image":1522,"meta":1543,"navigation":24,"path":1544,"seo":1545,"stem":1546,"__hash__":1547},"projectItems\u002Fprojects\u002Fbetween-back-there-over-here.md","Between, Back There, Over Here",{"type":7,"value":1507,"toc":1538},[1508],[37,1509,1511,1514,1517,1523,1529,1535],{"className":1510},[40,41,42],[44,1512,1505],{"id":1513},"between-back-there-over-here",[17,1515,1516],{},"These works continue an interest in island fabric and material culture, while pointedly considering colonial and post-colonial location and positioning. The island fabric is bleached and stitched over with coloured wool and glass beads.",[17,1518,1519],{},[50,1520],{"alt":1521,"src":1522},"Between canvas","\u002Fimg\u002Fbetween-back-there-over-here\u002Fbetween+web.webp",[17,1524,1525],{},[50,1526],{"alt":1527,"src":1528},"Back there canvas","\u002Fimg\u002Fbetween-back-there-over-here\u002Fback+there+web+.webp",[17,1530,1531],{},[50,1532],{"alt":1533,"src":1534},"Over here canvas","\u002Fimg\u002Fbetween-back-there-over-here\u002Fover+here+web.webp",[17,1536,1537],{},"Stretched Island Fabric and stitching, 100 x 180cm",{"title":15,"searchDepth":20,"depth":20,"links":1539},[1540],{"id":1513,"depth":20,"text":1505},"2010-01-01","2010",{},"\u002Fprojects\u002Fbetween-back-there-over-here",{"title":1505,"description":1516},"projects\u002Fbetween-back-there-over-here","wOOkRtBcK4ptyf1b0YpfeqyEdmDb--Dp2gFDmCfjNz4",{"id":1549,"title":1550,"body":1551,"date":1616,"description":1617,"extension":22,"image":1585,"meta":1618,"navigation":24,"path":1619,"seo":1620,"stem":1622,"__hash__":1623},"projectItems\u002Fprojects\u002Ftropical-paintings.md","Tropical Paintings",{"type":7,"value":1552,"toc":1613},[1553],[37,1554,1556,1559,1565,1568,1574,1580,1586,1592,1598,1604,1610],{"className":1555},[40,41,42],[44,1557,1550],{"id":1558},"tropical-paintings",[17,1560,1561],{},[50,1562],{"alt":1563,"src":1564},"Tropical Paintings 1","\u002Fimg\u002Ftropical-paintings\u002Ftropical+paintings+1+web.webp",[17,1566,1567],{},"A series of oil paintings examining the positive and negative interplay of ubiquitous Pacific patterned fabric designs.",[17,1569,1570],{},[50,1571],{"alt":1572,"src":1573},"Tropical Paintings 2","\u002Fimg\u002Ftropical-paintings\u002Ftropical+paintings+2+web.webp",[17,1575,1576],{},[50,1577],{"alt":1578,"src":1579},"Tropical Paintings 3","\u002Fimg\u002Ftropical-paintings\u002Ftropical+paintings+3+web.webp",[17,1581,1582],{},[50,1583],{"alt":1584,"src":1585},"Tropical Paintings 4","\u002Fimg\u002Ftropical-paintings\u002Ftropical+paintings+4+web.webp",[17,1587,1588],{},[50,1589],{"alt":1590,"src":1591},"Tropical Paintings 5","\u002Fimg\u002Ftropical-paintings\u002Ftropical+paintings+5+web.webp",[17,1593,1594],{},[50,1595],{"alt":1596,"src":1597},"Tropical Paintings 6","\u002Fimg\u002Ftropical-paintings\u002Ftropical+paintings+6+web.webp",[17,1599,1600],{},[50,1601],{"alt":1602,"src":1603},"Tropical Paintings 7","\u002Fimg\u002Ftropical-paintings\u002Ftropical+paintings+7+web.webp",[17,1605,1606],{},[50,1607],{"alt":1608,"src":1609},"Tropical Paintings 8","\u002Fimg\u002Ftropical-paintings\u002Ftropical+paintings+8+web.webp",[17,1611,1612],{},"Oil on fabric, various sizes: dyptich 120 X 180cm, smaller works: 40 x 40cm",{"title":15,"searchDepth":20,"depth":20,"links":1614},[1615],{"id":1558,"depth":20,"text":1550},"2009-01-01","2009",{},"\u002Fprojects\u002Ftropical-paintings",{"title":1550,"description":1621},"A series of oil paintings examining the positive and negative interplay of ubiquitous Pacific patterned fabric designs","projects\u002Ftropical-paintings","tWn_LBbyVBBNaXez5dkRDuOw6OlVQ9RSUv5TIHK8IVM",{"id":1625,"title":1626,"body":1627,"date":1682,"description":1683,"extension":22,"image":1640,"meta":1684,"navigation":24,"path":1686,"seo":1687,"stem":1689,"__hash__":1690},"projectItems\u002Fprojects\u002Fblack-hibiscus.md","Black Hibiscus",{"type":7,"value":1628,"toc":1679},[1629],[37,1630,1632,1635,1641,1644,1650,1656,1662,1668,1674],{"className":1631},[40,41,42],[44,1633,1626],{"id":1634},"black-hibiscus",[17,1636,1637],{},[50,1638],{"alt":1639,"src":1640},"Black Hibiscus Exhibition","\u002Fimg\u002Fblack-hibiscus\u002Fbh1web.webp",[17,1642,1643],{},"Solo exhibition at Fresh Gallery, Otara, mixed materials on objects:coconut scrapers, roti boards, pandanus fans, coconut brushes, lei.",[17,1645,1646],{},[50,1647],{"alt":1648,"src":1649},"bh3web","\u002Fimg\u002Fblack-hibiscus\u002Fbh3web.webp",[17,1651,1652],{},[50,1653],{"alt":1654,"src":1655},"bh4web","\u002Fimg\u002Fblack-hibiscus\u002Fbh4web.webp",[17,1657,1658],{},[50,1659],{"alt":1660,"src":1661},"Louise+1","\u002Fimg\u002Fblack-hibiscus\u002FLouise+1.webp",[17,1663,1664],{},[50,1665],{"alt":1666,"src":1667},"Louise+3","\u002Fimg\u002Fblack-hibiscus\u002FLouise+3.webp",[17,1669,1670],{},[50,1671],{"alt":1672,"src":1673},"Louise+6","\u002Fimg\u002Fblack-hibiscus\u002FLouise+6.webp",[17,1675,1676,1678],{},[57,1677,1626],{}," is a site-specific exploration of links between Otara, South Auckland and the Pacific Islands; all the materials and objects are sourced from Otara's town centre. Being in Otara is an experience the artist finds uneasy yet strangely comfortable, similar to that of being an expatriate in Honiara, the Solomon Islands. The shops, the signage, the music, the materials and the objects resonate with island connections. Yet relishing the familiarity of a vibrant Pacifica does nothing to diminish a sense of awkwardness. The works speak of balance \u002F imbalance, of understanding \u002F misunderstanding, of perception \u002F misperception, of voice \u002F non-voice.",{"title":15,"searchDepth":20,"depth":20,"links":1680},[1681],{"id":1634,"depth":20,"text":1626},"2008-02-01","2008",{"imageAlt":1685},"Islander Canvas","\u002Fprojects\u002Fblack-hibiscus",{"title":1626,"description":1688},"Solo exhibition at Fresh Gallery, Otara, mixed materials on objects: coconut scrapers, roti boards, pandanus fans, coconut brushes, lei. ","projects\u002Fblack-hibiscus","q2DIdpDhO-mfK2SQTt3lzrFANUaLMzarpfCOl_Zsgpo",{"id":1692,"title":1693,"body":1694,"date":1734,"description":1683,"extension":22,"image":1710,"meta":1735,"navigation":24,"path":1736,"seo":1737,"stem":1738,"__hash__":1739},"projectItems\u002Fprojects\u002Fsomething-from-nothing.md","Something from Nothing",{"type":7,"value":1695,"toc":1731},[1696],[37,1697,1699,1702,1705,1712,1715,1722,1728],{"className":1698},[40,41,42],[44,1700,1693],{"id":1701},"something-from-nothing",[17,1703,1704],{},"Collaboration with Frances Hansen, First Draft Gallery, Sydney",[17,1706,1707],{},[50,1708],{"alt":1709,"src":1710,"width":1711},"Something from Nothing picture wall","\u002Fimg\u002Fsomething-from-nothing\u002FPicture+7.webp",800,[17,1713,1714],{},"“Something from Nothing” tissue paper collage drawings",[17,1716,1717],{},[50,1718],{"alt":1719,"src":1720,"width":1721},"Picture+6","\u002Fimg\u002Fsomething-from-nothing\u002FPicture+6.webp",700,[17,1723,1724],{},[50,1725],{"alt":1726,"src":1727,"width":1711},"Picture+3","\u002Fimg\u002Fsomething-from-nothing\u002FPicture+3.webp",[17,1729,1730],{},"A collaboration with artist Frances Hansen exhibited at First Draft, Sydney. The entire gallery install for this exhibition utilises discarded packaging materials to bring attention to concerns around waste and pollution.",{"title":15,"searchDepth":20,"depth":20,"links":1732},[1733],{"id":1701,"depth":20,"text":1693},"2008-01-01",{},"\u002Fprojects\u002Fsomething-from-nothing",{"title":1693,"description":513},"projects\u002Fsomething-from-nothing","o3d0nKlKZd6keiEFbefRNBekAsuVm9M1-vF9j3e79hI",{"id":1741,"title":1742,"body":1743,"date":1869,"description":1870,"extension":22,"image":1756,"meta":1871,"navigation":24,"path":1872,"seo":1873,"stem":1875,"__hash__":1876},"projectItems\u002Fprojects\u002Fislander.md","Islander",{"type":7,"value":1744,"toc":1866},[1745],[37,1746,1748,1752,1757,1760,1763],{"className":1747},[40,41,42],[44,1749,1751],{"id":1750},"islander","Islander?",[17,1753,1754],{},[50,1755],{"alt":1685,"src":1756},"\u002Fimg\u002Fislander\u002Fcosmo_070605+002.webp",[17,1758,1759],{},"A drawing series responding to materials and items which speak to a relationship with the Pacific, recalling Stevenson's childhood in Solomon Islands and the Pacific culture around her in Auckland, New Zealand. Repeated motifs and modes of making re-occur across the images which incorporate stitching, perforations, collage and beading. The series was exhibited in the survey show “Drawing out of Exile” at Te Tuhi gallery, Auckland.",[17,1761,1762],{},"All works are 30 x 40 cm; below is a selection from 42 drawings.",[112,1764,1765,1771,1776,1781,1786,1791,1796,1801,1806,1811,1816,1821,1826,1831,1836,1841,1846,1851,1856,1861],{},[17,1766,1767],{},[50,1768],{"alt":1769,"src":1770},"Islander 1","\u002Fimg\u002Fislander\u002Fislander+1+web+.webp",[17,1772,1773],{},[50,1774],{"alt":1769,"src":1775},"\u002Fimg\u002Fislander\u002Fislander+2+web+.webp",[17,1777,1778],{},[50,1779],{"alt":1769,"src":1780},"\u002Fimg\u002Fislander\u002Fislander+3+web+.webp",[17,1782,1783],{},[50,1784],{"alt":1769,"src":1785},"\u002Fimg\u002Fislander\u002Fislander+4+web+.webp",[17,1787,1788],{},[50,1789],{"alt":1769,"src":1790},"\u002Fimg\u002Fislander\u002Fislander+5+web+.webp",[17,1792,1793],{},[50,1794],{"alt":1769,"src":1795},"\u002Fimg\u002Fislander\u002Fislander+6+web+.webp",[17,1797,1798],{},[50,1799],{"alt":1769,"src":1800},"\u002Fimg\u002Fislander\u002Fislander+7+web+.webp",[17,1802,1803],{},[50,1804],{"alt":1769,"src":1805},"\u002Fimg\u002Fislander\u002Fislander+8+web+.webp",[17,1807,1808],{},[50,1809],{"alt":1769,"src":1810},"\u002Fimg\u002Fislander\u002Fislander+9+web+.webp",[17,1812,1813],{},[50,1814],{"alt":1769,"src":1815},"\u002Fimg\u002Fislander\u002Fislander+10+web+.webp",[17,1817,1818],{},[50,1819],{"alt":1769,"src":1820},"\u002Fimg\u002Fislander\u002Fislander+11+web+.webp",[17,1822,1823],{},[50,1824],{"alt":1769,"src":1825},"\u002Fimg\u002Fislander\u002Fislander+12+web+.webp",[17,1827,1828],{},[50,1829],{"alt":1769,"src":1830},"\u002Fimg\u002Fislander\u002Fislander+14+web+.webp",[17,1832,1833],{},[50,1834],{"alt":1769,"src":1835},"\u002Fimg\u002Fislander\u002Fislander+15+web+.webp",[17,1837,1838],{},[50,1839],{"alt":1769,"src":1840},"\u002Fimg\u002Fislander\u002Fislander+16+web+.webp",[17,1842,1843],{},[50,1844],{"alt":1769,"src":1845},"\u002Fimg\u002Fislander\u002Fislander+17+web+.webp",[17,1847,1848],{},[50,1849],{"alt":1769,"src":1850},"\u002Fimg\u002Fislander\u002Fislander+18+web+.webp",[17,1852,1853],{},[50,1854],{"alt":1769,"src":1855},"\u002Fimg\u002Fislander\u002Fislander+19+web+.webp",[17,1857,1858],{},[50,1859],{"alt":1769,"src":1860},"\u002Fimg\u002Fislander\u002Fislander+21+web+.webp",[17,1862,1863],{},[50,1864],{"alt":1769,"src":1865},"\u002Fimg\u002Fislander\u002Fislander+22+web+.webp",{"title":15,"searchDepth":20,"depth":20,"links":1867},[1868],{"id":1750,"depth":20,"text":1751},"2005-01-01","2005",{"imageAlt":1685},"\u002Fprojects\u002Fislander",{"title":1742,"description":1874},2005,"projects\u002Fislander","2ogYE-h3D7--fX2TvcKFwVtZ2NmFEhlyFUWg0SORKm4",{"id":1878,"title":1879,"body":1880,"date":2098,"description":2099,"extension":22,"image":1937,"meta":2100,"navigation":24,"path":2101,"seo":2102,"stem":2103,"__hash__":2104},"projectItems\u002Fprojects\u002Frajzok.md","Rajzok \u002F Drawings",{"type":7,"value":1881,"toc":2091},[1882],[37,1883,1885,1889,1892,1897,1900,1962,1966,1969],{"className":1884},[40,41,42],[44,1886,1888],{"id":1887},"rajzok-drawings-1999-2000","Rajzok \u002F Drawings (1999 - 2000)",[17,1890,1891],{},"While living in Budapest, Hungary, Stevenson practiced from a studio located on Hajógyári Sziget, an island on the Danube. During that time, she produced several sketchbooks of small drawings in response to the environment, referencing the bleak winter and a melancholy Hungarian atmosphere.",[1893,1894,1896],"h3",{"id":1895},"daily-bread","Daily Bread:",[17,1898,1899],{},"Produced daily in a small sketchbook using collected paper bread labels baked onto the surfaces of loaves in local bakeries throughout Budapest. The drawings use coffee and pencil. They reflect on the sparse winter environment in which they were made and the hardships of living for many in Hungary.",[112,1901,1902,1908,1914,1920,1926,1932,1938,1944,1950,1956],{},[17,1903,1904],{},[50,1905],{"alt":1906,"src":1907},"Daily Bread 1","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+1+web+.webp",[17,1909,1910],{},[50,1911],{"alt":1912,"src":1913},"Daily Bread 2","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+2+web+.webp",[17,1915,1916],{},[50,1917],{"alt":1918,"src":1919},"Daily Bread 3","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+3+web.webp",[17,1921,1922],{},[50,1923],{"alt":1924,"src":1925},"Daily Bread 4","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+4+web.webp",[17,1927,1928],{},[50,1929],{"alt":1930,"src":1931},"Daily Bread 5","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+5+web+.webp",[17,1933,1934],{},[50,1935],{"alt":1936,"src":1937},"dDaily Bread 6","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+6+web+.webp",[17,1939,1940],{},[50,1941],{"alt":1942,"src":1943},"Daily Bread 7","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+7+web+.webp",[17,1945,1946],{},[50,1947],{"alt":1948,"src":1949},"dDaily Bread 8","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+8+web+.webp",[17,1951,1952],{},[50,1953],{"alt":1954,"src":1955},"Daily Bread 9","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+9+web+.webp",[17,1957,1958],{},[50,1959],{"alt":1960,"src":1961},"Daily Bread 10","\u002Fimg\u002Fdaily-bread\u002Fdaily+bread+10+web+.webp",[1893,1963,1965],{"id":1964},"téli-winter-sketchbooks","Téli (Winter) sketchbooks:",[17,1967,1968],{},"A selection of small drawings made during the winter of 1999-2000 in Budapest.",[112,1970,1971,1977,1983,1989,1995,2001,2007,2013,2019,2025,2031,2037,2043,2049,2055,2061,2067,2073,2079,2085],{},[17,1972,1973],{},[50,1974],{"alt":1975,"src":1976},"Hajo 1","\u002Fimg\u002Fwinter\u002Fhajo+1+web+.webp",[17,1978,1979],{},[50,1980],{"alt":1981,"src":1982},"Hajo 2","\u002Fimg\u002Fwinter\u002Fhajo+2+web+.webp",[17,1984,1985],{},[50,1986],{"alt":1987,"src":1988},"Hajo 3","\u002Fimg\u002Fwinter\u002Fhajo+3+web+.webp",[17,1990,1991],{},[50,1992],{"alt":1993,"src":1994},"Hajo 4","\u002Fimg\u002Fwinter\u002Fhajo+4+web+.webp",[17,1996,1997],{},[50,1998],{"alt":1999,"src":2000},"Hajo 5","\u002Fimg\u002Fwinter\u002Fhajo+5+web+.webp",[17,2002,2003],{},[50,2004],{"alt":2005,"src":2006},"Hajo 6","\u002Fimg\u002Fwinter\u002Fhajo+6+web+.webp",[17,2008,2009],{},[50,2010],{"alt":2011,"src":2012},"Hajo 7","\u002Fimg\u002Fwinter\u002Fhajo+7+web+.webp",[17,2014,2015],{},[50,2016],{"alt":2017,"src":2018},"Hajo 8","\u002Fimg\u002Fwinter\u002Fhajo+8+web+.webp",[17,2020,2021],{},[50,2022],{"alt":2023,"src":2024},"Hajo 9","\u002Fimg\u002Fwinter\u002Fhajo+9+web+.webp",[17,2026,2027],{},[50,2028],{"alt":2029,"src":2030},"Hajo 10","\u002Fimg\u002Fwinter\u002Fhajo+10+web+.webp",[17,2032,2033],{},[50,2034],{"alt":2035,"src":2036},"Hajo 11","\u002Fimg\u002Fwinter\u002Fhajo+11+web+.webp",[17,2038,2039],{},[50,2040],{"alt":2041,"src":2042},"Winter 2","\u002Fimg\u002Fwinter\u002Fwinter+2+web+.webp",[17,2044,2045],{},[50,2046],{"alt":2047,"src":2048},"Winter 3","\u002Fimg\u002Fwinter\u002Fwinter+3+web+.webp",[17,2050,2051],{},[50,2052],{"alt":2053,"src":2054},"Winter 4","\u002Fimg\u002Fwinter\u002Fwinter+4+web+.webp",[17,2056,2057],{},[50,2058],{"alt":2059,"src":2060},"Winter 5","\u002Fimg\u002Fwinter\u002Fwinter+5+web+.webp",[17,2062,2063],{},[50,2064],{"alt":2065,"src":2066},"Winter 6","\u002Fimg\u002Fwinter\u002Fwinter+6+web+.webp",[17,2068,2069],{},[50,2070],{"alt":2071,"src":2072},"Winter 7","\u002Fimg\u002Fwinter\u002Fwinter+7+web+.webp",[17,2074,2075],{},[50,2076],{"alt":2077,"src":2078},"Winter 8","\u002Fimg\u002Fwinter\u002Fwinter+8+web+.webp",[17,2080,2081],{},[50,2082],{"alt":2083,"src":2084},"Winter 9","\u002Fimg\u002Fwinter\u002Fwinter+9+web+.webp",[17,2086,2087],{},[50,2088],{"alt":2089,"src":2090},"Winter 10","\u002Fimg\u002Fwinter\u002Fwinter+10+web+.webp",{"title":15,"searchDepth":20,"depth":20,"links":2092},[2093],{"id":1887,"depth":20,"text":1888,"children":2094},[2095,2097],{"id":1895,"depth":2096,"text":1896},3,{"id":1964,"depth":2096,"text":1965},"2000-01-01","1999 - 2000",{},"\u002Fprojects\u002Frajzok",{"title":1879,"description":2099},"projects\u002Frajzok","W2QnB7P3D-PeY0lco_g55639nTuCwpzZdRn4_jEagWg",1788136190712]