exposure 2008

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A COLLECTION OF GRADUATING STUDENTS’ WORK

A COLLECTION OF GRADUATING STUDENTS’ WORK

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Welcome to Exposure 08, the publication of our annual graduation show, which is now part of the College of Creative Arts Festival: Blow, Nga hau e wha.

Just as the Royal College of Art describes itself as a ‘very special ideas factory’ so too can we at Massey’s College of Creative Arts. We have been at the creative heart of Wellington, and indeed the nation, for more than 120 years, and have been impacting on the cultural and economic well-being of New Zealand through our innovative thinking ever since.

Known variously as the Wellington School of Design and as the Wellington School of Art, we have produced some of the country’s best-respected artists and designers. Now, as Massey’s College of Creative Arts, based in Wellington and Auckland, we continue to produce world-class graduates in art and design. Many of these have been instrumental

in shaping New Zealand’s national identity through iconic imagery, or contributing to its economic growth through the creation of original and desirable designs.

Our alumni include proven leaders in New Zealand’s creative and cultural industries: Kate Sylvester, Richard Taylor, Len Lye, Gordon Walters, Judy Darragh and Mark Pennington are all our ex-students and all have touched the lives of New Zealanders through creating the clothes we wear, the fi lms we watch, the furniture and household articles we buy, and the images that repre-sent us and our unique culture to the world.

Ground breaking creations such as the Fisher and Paykel Dish Drawer, the Apple iMac, Formway’s ‘Life Chair’, the digital ani-mations of ‘Lord of the Rings’, all came about through the work of our alumni. Recent graduates can be found in design studios and enterprises across the country,

PRO VICE-CHANCELLOR

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and indeed across the planet. Although many of them may not yet be known to you by name, like the generations of students who have come through this extraordinary New Zealand institution before them, they give shape to the material world around us in a distinct and compelling Kiwi manner.

A recent government exercise (called the PBRF) saw Massey’s School of Design ranked fi rst in the nation, with the largest number of participating academics, the highest quality score, and six of the coun-try’s eight leading design researchers based there. In the same exercise the College’s School of Fine Art’s quality score of 4.33, when set alongside the 4.30 achieved by Elam at Auckland University, indicates that we truly are the best in the country.

Like other world leading design schools such as the Royal College of Art, ACCD Cali-fornia, or Rhode Island School of Design in

New York, the College of Creative Arts has always understood the intimate and impor-tant relationship between fi ne art and all areas of visual design. We also understand that a strong arts community is central to developing national identity and encourag-ing an innovative, knowledge economy. We are pleased to be helping to build such a community here in Wellington, the nation’s creative capital.

In this publication we showcase New Zea-land’s artists and designers of the future taking their fi rst steps out into the world. Be proud of them – their work is stunning and they thoroughly deserve their moment in the sun.

PROFESSOR SALLY MORGAN

Pro Vice-Chancellor

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The design disciplines of Fashion, Indus-trial, Spatial, Textiles and Performance form the Institute of Design for Industry and Envi-ronment. Each discipline has its own values, theory, practise and research cul-ture that is nurtured and encouraged within the Institute. There is also rich opportunity for exchange and exploration between these disciplines within the Institute and also beyond into the wider university and community. Our undergraduate and post-graduate programmes capitalise on the research excellence and technical support of our world-class staff.

Design for industry and the environ-

ment is of signifi cance to us all. In our

increasingly international consumer

orientated society, the ability to trans-

form materials into desirable and

valued objects, places and spaces is

fundamental to our physical, psycho-

logical and economic well-being and

identity. It is also critical for a sustain-

able future.

INSTITUTE OF DESIGN FOR INDUSTRY AND ENVIRONMENT

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The work presented in this year’s publica-tion illustrates the quality of the Institute. The outstanding creativity of these gradu-ates, the inspirational guidance of their academic teachers and the technical and administrative support provided by my col-leagues demonstrates our commitment to design excellence and innovation. These are key qualities not only for our graduates and staff but also for New Zealanders, our industry and environment as we make our way in the world. A world that is challenged

by economic uncertainty and environmen-tal change needs, more than ever before, the ideas, insights and solutions design can contribute.

Congratulations to the students and staff of the Institute for the achievements of 2008.

I wish all our graduates success and fulfi ll-ment in their careers.

PROFESSOR TONY PARKER

Head of Institute, Institute of Design for Industry and Environment

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Fashion graduands celebrated the culmina-tion of four years of fashion design studies with collections showing immense creative talent at the Foya Collective Fashion Show 2008. See http://issuu.com/foyacollective

Fashion design outcomes varied from exploratory conceptual pieces to commer-cial collections designed for a range of markets within the fashion industry. Our students produced highly innovative designs derived from research, creative design processes and technical expertise.

A number of students gained success in national competitions and Massey University fashion awards: Elizabeth Steele/Samara Vercoe; Unity Collection Award for Commercial Design: Harriet Sharpe/Charlotte Little; Purfex Award for Design: Victoria Temple-Camp/Hannah Mitchell; Kirkcaldie & Stains Award for Innovation and Creativity: Liz Ting; Rembrandt Suits Award for Excellence: Wendy Kwan; John Rainger Vilene Award: Miriam White; Grow Wellington Award for Business.

We congratulate all fashion graduates of 2008 and thank them for contributing to the continuing success of our programme.

DEB CUMMINGPROGRAMME LEADER FASHION DESIGN

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ELEISHA BALMER

A World of Nonsense is the exploration of scale and the miniature versus the oversized, through contemporary fashion design.

[email protected] 690 1222

BROOKE ANDERSON

I tube you collection.

It is based on using one shape, the circle, to create a conceptual and wearable collection.


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SARA BRISTOW

Genderfuck. A parody of two genders.


KATE BARTELS

This high-fashion collection, entitled Luxor Paradiso, derives from Egyp-tian revival in design, and proposes to architecturally reform and display the body in a contemporary way.

Finalist in Southern Trust iD Dunedin

Emerging Designer Awards 2009


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RUTH BUCKNELL

Anonymity depicts how the busy, work-ing mother becomes anonymous: fulfi ll-ing everyone else’s desires so effi ciently she becomes unseen – her identity belonging to her roles.

Finalist in Southern Trust iD Dunedin

Emerging Designer Awards 2009

[email protected](06) 377 7563, 027 260 0574

BELINDA COPPIN

My collection explores the relationship of young women in transitional times between

traditional expectations and the more fl uid networks of innovation and novelty which

modernity offered in between the wars.

Winner Zonta Design Award, Fashion, 2008


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LOREN EDWARDS

For Euphemia. A collection based on personal understanding

of the idea of real beauty, ‘beautiful’ clothing for women with a twist

of restraint and awkwardness when on the body.


REBECCA DAVIDSON

Taking motive and inspiration from Simon Morley’s collaborative book Writing on the Wall my collection presents itself to the viewer as “assorted block text.”


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GABRIELLE FUTTER

36 . 24 . 36 A collection inspired by the corset and the never achievable perfect measurements for an hourglass fi gure 36” 24” 36”.


HELEN FORSTER

Mend and Make Do: The Wedding Dress

This process has been taken to the extreme by creating an extravagant, ostentatious wedding dress which is then deconstructed. The resulting garments still contain that certain sacredness implied in the original wedding dress.

[email protected] 021 042 4230

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ROBYN HOLLAND

The concept of Miraculae Naturae (Monster) is one that brings into question what is ugly and how can

something that is considered ugly or grotesque be trans-formed into something desirable or fashionable?


CHARLOTTE HAZLETT

Its all about the gus is inspired by early 80s American sportswear. Garments are taken away from the sports fi eld and contemporised into modern streetwear.


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KATIE KENNEDY

“There sometimes seems something almost mad about these women and men who dedicated their lives to the ‘tragic game’ of being chic” Elizabeth Wilson / Bohemians:the Glamorous Outcasts.


WENDY KWAN

In the aesthetic historical timeline from Mao’s communist era through to today, Chinese women’s identities have changed, but the remnants of the past and their original roots are still there.

Winner of John Rainger Vilene Award 2008


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CHARLOTTE LITTLE

Pickled

Organic Singlet Dress worn with Crocheted Organic Merino Fox Wool, naturally died with Turmeric, Tea, Coffee and Chilli Powder.

Winner of Purfex Award for Design 2008


MARIE LOPDELL

How would it be to have the audience taken aback by asking from the garments, that which is

unnatural and unexpected? To defy gravity.

[email protected] 698 5421(04) 385 2280

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RACHEL MCCARTEN

Into the Fold explores the trend of origami in fashion, as the static fabric is transformed into a wearable 3D form through the process of folding.


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HANNAH MITCHELL

BELIEVE

An independent investigation of the truth.

Winner of Kirkcaldie & Stains Award

for Innovation and Creativity 2008


HELEN MOORE

Stitch of Grace was inspired by the story of deconstructing a pair of ballet shoes.


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TIFFANY NGAN

…and make it I am the Sun Queen is a journey into fantasy, designed to take the wearer away from their current situation.


RA MUGGERIDGE

A commercial capsule collection of relaxed interchangeable garments inspired by world street fashion.


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COURTNEY PETLEY

To explore the way zips can be used in the detail of clothing.


MELANIE PRATTEN

A visual interpretation of the ele-ments of nature explored through aesthetic design, colour, silhouette and the manipulation of fabrics.


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CASEY SCHWASS

“so unaided, she began her next performance with an apparent improvisation which was in reality, only a variation upon a theme” A.Carter 1974


DAVID SEAMAN

One of the members of the Birds of Prey,

a sci-fi glam rock gang of peacocks.


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HARRIET SHARPE

As human beings we strive to understand the natural world and the forms that fascinate us. Fiband & Nemhain maps birds’ mobility and structure through fabric, form and design.

- Winner of Purfex Award for Design 2008

- Runner-up Zonta Design Award, Fashion, 2008


ROSIE SHELTON

myspace

Myspace is a collection of mini environments that highlight the gulf between

private experience and public interpretation upon

the dressed body.


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GEORGINA SOUTHEN

A juxtaposition of leather, silk & aluminium combine with classic tailoring, drape and industrial processes to create a collection that fi nds a balance between uniform and femininity.


ELIZABETH STEELE

Envelop Me allows the wearer to envelop themselves in the clothing

which gives them a feeling of complete protection, warmth and comfort.

Winner of Unity Collection Award

for Commercial Design 2008


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VANCE STEELE

Fresh form and submersed emo-tion captivate the essence of the collection, Salacia Inspired, by Marine Biologist Ernst Haeckel.

[email protected]

VICTORIA TEMPLE-CAMP

In the lost and found

In relation to the post-industrial found object, an investigative pro-cess of ownership, dis-ownership and deterioration are explored through clothing.

Winner of Kirkcaldie & Stains Award

for Innovation and Creativity 2008

[email protected] 305 0755, (04) 382 8395

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LIZ TING

Foe Crossing

An exploration of the relationship between religion and branding in today’s society.

- Winner of Rembrandt Suits Award for Excellence 2008

- Winner of Pacifi c Blue Travel prize , iD Dunedin Fashion Show 2009


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SAMARA VERCOE

The Space Between

The space between your heart and mine is the space we’ll fi ll with time.

Winner of Unity Collection Award

for Commercial Design 2008


MIRIAM WHITE

Kubla and Salome blends a conceptual investigation into poetry, narrative and fashion drawing infl uence from Kubla Khan and Aubrey Beardsley illustrations.

Winner of Grow Wellington

Award for Business 2008


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Textile design is concerned with under-standing and creating one of the most intimate and yet public aspects of the mate-rial world. In our unique programme we encourage exploration in design and colour, development of technical knowledge, and digital media skills for translating textile con-cepts into marketable products.

The 2008 Textile Design graduate work refl ects the students’ sustained commit-ment to engage in critical debates to focus and contextualise their designs. Along with their broad skills base and a thorough understanding of the structure and surface aspects of textile design, our students are well prepared for successful careers within the international arena of textiles.

The students have produced innovative, contemporary applications and will contrib-ute to various creative, commercial, cultural and heritage organisations. Some of the students have already achieved recognition and outstanding success in competitions such as the International Society of Dyers and Colourists, World of Wearable Arts and the Hokonui Fashion Awards. We wish this group of students well and commend them on the quality of their achievements.

SANDRA HEFFERNANSUBJECT LEADER TEXTILE DESIGN

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NATALIE BABBAGE

Haptic Collection.

Winner of Bromedia

Imaging Award 2008

[email protected]

RUTH BROWNE

Threads of Memory. Design can trigger culturally shared memories,

evoke recollections or create fi ctional memories. The unclear disposition

of memory has been captured with deconstruction and manipulation

of fabric structures.

Zonta Design Awards 2008:

Winner Textiles Award and

Winner Supreme Award


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CARRIE DONALDSON

Inspired by the demise of my rural home town, Raetihi along with key words abandoned, broken, layered, crumbling, decay and loss.

[email protected]

JESSICA EDWARDS

Exploring the notion of creating unconsciously. By removing

elements of control, it was discovered that we constantly

seek to retain control, even within a process that lacks it.


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FRANCES HODGSON

A fabric collection based on analogies formed between the human anatomy and the natural world.

Winner of Sotech Excellence in

Embroidery Award 2008


HARRIET GARLAND-LEVETT

Dress is a communication tool; within it layers of signs that

describe identity.

[email protected]

027 321 7750

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ALANAH GIBSON

Refracted light is a textile print-based collection exploring architecture: playing with light, depth and transparency.

Hokonui Fashion Show 2008,

Winner Knitwear Section


CLAIRE HINCHEY

The human skin is a canvas which people use to express

their identity and individualism. This project celebrates the tattoo

and the representation of the permanent mark.

Joint Winner, Digitex Most

Innovative Digital Design Award

[email protected] 318 3657, (04) 976 4783

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AMY PYLE

The New Zealand Bach.

The way the baches are added to layer by layer, generation by generation.

- Winner Blue Print Imaging Excellence

in Textile Print Award

- Runner-up Zonta Design Award, Textiles, 2008


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DANIEKA LITTLEWOOD-ROWE

My major project explores how historical family storytelling infl uences memory and then resonates into the development of memorable textiles.


SIMOEN VAN DER MEENT

This project celebrates the individuality of the 60s and 70s youth counter-culture by focusing on three revolutionary bands: Led Zeppelin, David Bowie and the Sex Pistols.


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AMY VAN LUIJK

Wrapping and Revealing

- Winner Resene Best Use of Colour Award 2008

- Hokonui Fashion Show 2008, Collections Section Merit Award


SARAH WALL

Accessories of Dress

Inspired by the extravagant nature of Victorian women’s accessories of dress, looking specifi cally at the techniques that were used combined with additional techniques: weaving and foiling.

Winner John Rainger Textile

Interlining Award 2008

027 334 [email protected]

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CARLA YEUNG

Take a dive with this collection and explore coral inspired knit and crochet textile fabrics.

- Winner Purfex Excellence in Textile Design

for Apparel Award 2008

- Winner MSO Design and Art Production

Best Portfolio Presentations Award 2008


MAYA ZILBERBERG

Travel through a personal geography that is made up of memory, knowledge, experience and genealogy. Exploring where one fi ts into a multitude of landscapes

that together composes ones identity.


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Design is about creating pleasurable, desir-able and meaningful experiences for people. The contribution of industrial design is multi-facetted. The economic and soci-etal value of being able to offer the market products that meet utilitarian as well as emotional needs cannot be underesti-mated. This needs to be done with care, respect and consideration to others, to our planet, and to our future. Our graduates increasingly show that they are thoroughly prepared for successful careers as indus-trial designers. The fantastic turnout at the BeST awards 2008 (eleven of the 15 stu-dent fi nalists were from Massey) and the 2008 Dyson awards (all four fi nalists were from Massey), is excellent proof of their abilities. Projects by our students show a profound level of innovativeness and origi-nal thought grounded in solid research. They refl ect their ability to understand and inquire into novel contexts of use and to transform ideas into relevant, innovative and exciting products. Students’ work also exhibits a high level of awareness and sen-sibility to aesthetics, meaning and value for the intended user and market. We congrat-ulate our Industrial Design graduates for their outstanding achievements as they enter the world with the privilege and responsibility of shaping our futures in the most infl uential of ways: by creating prod-ucts that surprise, delight and enhance our everyday experiences.

STAFF AND ASSOCIATES OF AFFECT RESEARCH CENTRE FOR AFFECTIVE DESIGN, INSTITUTE OF DESIGN FOR INDUSTRY AND ENVIRONMENT

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JAMAINE RANIERA FRASER

Korowai O Tangaroa - Cloak of the Sea

A product with cultural signifi cance that is designed to keep small cetaceans cool, moist and comfortable whilst stranded.

[email protected]

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GUO FU

1. Disaster prevention water tower

2. Eco bin, made from pc case

3. Dusk - Prowler stealth vessel for ‘Halo’ movie production


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JAKE HOCKING

Re-mouldable with heat, STRYK is protective hand-wear for Underwater Hockey. Cost effective for mass production in a selective market. Sleek. Aggressive. Resilient.


JOEL LARSEN

A wireless control system that operates the rotation, angle, extension and the water/foam controls of aerial turntable ladders mounted on fi re trucks.


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SAVANN MAN

Speculative 2018 Formula 1 Vehicle

This design project speculates about a future 2018 Formula 1 vehicle and illustrates what new innovative technologies and philosophies the vehicle may inherit.

[email protected] 039 6631, 027 767 4255

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LAURENZ WALTERFANG

A solution for long-lasting, earthquake and hurricane proof buildings with built-in solar energy supply. Customizable in size and layout. Prefabricated and easy to assemble.


ALASTAIR WARREN

Ambieth is a table-top heater, designed as a focal point for gathering. With a welcoming

glow and advanced ceramics, it employs directional infrared

heating technology.

[email protected]

027 340 3457

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AIMIE WHITING

The Point of difference™ is an innovative 3 inch high heel with inbuilt metatarsal padding, aerated heel ball and co-moulded hard and soft polyurethane heel that creates a pair of cush-ioned, shock reducing, comfortable high heels.


JULIET WHYTE

3c Kitchen for future urban living.

Winner Zonta Design Award,

Industrial, 2008


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Spatial Design is the practice of imagining, forming and constructing environments that consider space, time and sensory inhabitation. Emerging from the fi eld of Interior Design this programme explores the embodied and theoretical conditions of architectural and virtual environments, as well as performance events. Our interdisci-plinary approach integrates textile, furniture, object, fashion, digital and installation design, which is facilitated by our position within Massey University’s College of Crea-tive Arts. This allows our graduates to work in a wide range of industries, including architecture, fi lm, multimedia, exhibition, urban and events design.

Spatial design offers an expansive territory for practice and research, extended by the critical and speculative work of our under-graduate and postgraduate students. The 2008 Spatial Design graduates have shown a commitment to, and passion for, designing environments and experiences during their time with us. We wish them all the very best in their future. They leave Massey with skills that enable them to make valuable contribu-tions in their chosen careers.

DORITA HANNAHPROGRAMME DIRECTOR: SPATIAL DESIGN

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AMY BRODIE

In the palpable darkness of the void, boundaries can be sensed if not quite seen, and we are immersed in a meditative mood.

amybrodie@studiopacifi c.co.nz021 395 179 CHLOE COLES

Routines and spatial requirements that change with the seasonal cycle

allow a rural/coastal dwelling to breathe; to hibernate during off-peak season

then bloom in Summer.


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CLEON FERREIRA

Concepts of relational aesthetics are used to bring

the ‘urban facebook’ into Wellington for IntensCITY week and provide the public with an

active spatial experience.


Spatial, 2008


BROOKE FOWLER

Using the fold as a tool to break conventional working practices, the offi ce becomes a space of fl uid environments, activating better interaction in its form and operability.


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HAYLEY GRAY

In-Between identifi es a video practice which activates the live context of watching, transforming cinema’s

historical and cultural ‘architectures of reception’ into sites of cinematic experience.


AMY FRASER

This project explored the qualities of light to create serene waiting spaces at Wellington Public Hospital.


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MEGAN HINE

Banish Air from Air

The poem Banish Air from Air by Emily Dickinson was used to explore and direct possibilities around air and architecture to create an inner city bathhouse for women.


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JENNIFER KAY

Dressing

Fashion aids in the dressing of the body, and an exterior cladding dresses the structure of a building. This project translated this idea of the dressed body / structure to propose a design for a fashion house.


JULIA KINGHAM

This project addresses the issue of temporality by proposing a modular spatial design that was inspired by Jaeha’s Winter 08 collection.


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BRIAR LOBB

Forest of Knowledge

This library design was conceptualised from a poem that talks about the many

pathways within a forest. Tall pillars extrude through three levels interrupting

the navigation through the space.


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SAMANTHA RICHARDS

There are no mirrors in a hospice. The only refl ection of self is through the objects, memories and people who gather around the terminally ill.

[email protected](04) 934 0563, 021 294 3793

MELANIE MARSHALL

The project Assemblage looked into assembling a DOC campsite on Matiu Somes Island. I have created a construction system based on the analogy of quilting. The design is informed by the site and draws on the experience and craft of the construction process itself, this being a universal programme that can be applied to any remote site.

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STEPHANIE SCHICKER

The Commuters Interchange explores the collective movement of commuters passing through the underground tunnel situated at the Wellington railway station.

- Runner up Zonta Design Award, Spatial, 2008

- ARTICHOKE® Magazine Prize for Design Communication 2008


SAMANTHA SCRYMGEOUR

This design was a proposed interior fi t-out for an urban retail store (Spacesuit) on Cuba Street in Wellington.


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KELLY TAN

This project proposes a virtual reality motel within an existing car parking building and plays on the contrasting aesthetics between the virtual and actual worlds.

[email protected]

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BRIDGET TAYLOR

Body Code. This project proposes a re-design of the TSB Bank Arena’s foyer space that sits in between the staged, formal performance inside, and the performance of the ‘everyday’ on the outside. The design for this transit space is derived through “a mode of spacing that gives its place to events” (B. Tschumi).


AMIE WALTERS

My interests lie in the space of the in-between, the ways in which people inhabit and interact with space, and how spaces can exceed current modes of inhabitation.

[email protected]

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This year we are very pleased to graduate our third cohort of students in this dynamic new programme. Run jointly between Toi Whakaari (New Zealand Drama School) and Massey University, the degree offers a unique education in the developing fi eld of the live arts. It is a discipline that works in the many situations of performance, across spatio-temporal practices in theatre, fi lm, dance, opera, music, exhibition, fashion, performance art, and events. It considers the active role that design can play in manip-ulating space, object, movement, body, and light to become a performing agent with lan-guages and narratives of it’s own. Our students learn the principles of designing for the stage, whilst also learning methods, theory, and creative processes whereby they can become more than designers for performance, but also designers of perform-ance. The past four years of study have been very busy for this group of fantastic students - exhibiting work in the 2007 Prague Quadrennial, and presenting per-formances in Wellington throughout 2008. Our congratulations to them all for their fan-tastic achievements over the past four years, and best wishes for the future. Performance Design at Massey is now integrated into the Spatial Design programme.

SAM TRUBRIDGEPROGRAMME CO-ORDINATOR, PERFORMANCE DESIGN

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SARAH BURRELL

Set design for Macbeth, Basement Theatre at Toi Whakaari: New Zealand Drama School, September 2008.

[email protected]

CHRISTOPHER ULUTUPU

When images of pain and terror are transmitted onto a televi-sion or the computer screen, it gets digested, processed and regurgitated along with other information. Remember 911 – The Party is a new form of cruelty: a carnival of horrors.


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MARINA DAVIS

In loving commemoration. The loss of a home so ingrained, is survived by memories and material. Let the future be stitched together.


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HARRIET SHARPE


Runner-up Zonta Design Award, Fashion, 2008

WENDY KWAN

Winner of John Rainger Vilene Award 2008

ELIZABETH STEELE

Winner of Unity Collection Award for Commercial Design 2008

HANNAH MITCHELL

Winner of Kirkcaldie & Stains Award for Innovation and Creativity 2008

CHARLOTTE LITTLE


VICTORIA TEMPLE-CAMP

Winner of Kirkcaldie & Stains Award for Innovation and Creativity 2008

FASHION AWARDS 2008/2009

RUTH BUCKNELL

Finalist in Southern Trust iD Dunedin Emerging Designer Awards 2009

BELINDA COPPIN

Winner Zonta Design Award, Fashion, 2008

KATE BARTELS

Finalist in Southern Trust iD Dunedin Emerging Designer Awards 2009

NATIONAL AWARDS: INSTITUTE OF DESIGN FOR INDUSTRY AND ENVIRONMENT

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TEXTILE AWARDS 2008/2009

LIZ TING

Winner of Pacifi c Blue Travel prize at Southern Trust iD Dunedin Emerging Designer Awards 2009

Winner of Rembrandt Suits Award for Excellence 2008

SAMARA VERCOE

Winner of Unity Collection Award for Commercial Design 2008

MIRIAM WHITE

Winner of Grow Wellington Award for Business 2008

RUTH BROWNE

Zonta Design Awards 2008: Winner Textiles Award and Winner Supreme Award

FRANCES HODGSON

Winner of Sotech Excellence in Embroidery Award 2008

NATALIE BABBAGE

Winner of Bromedia Imaging Award 2008

ALANAH GIBSON

Hokonui Fashion Show 2008, Winner Knitwear Section

CLAIRE HINCHEY

Joint Winner, Digitex Most Innovative Digital Design Award

AMY PYLE

Winner Blue Print Imaging Excellence in Textile Print Award

Runner-up Zonta Design Award, Textiles, 2008

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KENNETH YOUNG

DINZ BeST Award 2008, Silver

SCOTT PARKER


JAKE SNOWDEN


IAIN TOLLADAY

DINZ BeST Award 2008, Gold

Dyson Product Award 2008, Runner-up

ASH HOLWELL


MATTHEW MCKINLEY


Dyson Product Award 2008, Finalist

AMY VAN LUIJK

Winner Resene Best Use of Colour Award 2008

Hokonui Fashion Show 2008, Collections Section Merit Award

SARAH WALL

Winner John Rainger Textile Interlining Award 2008

CARLA YEUNG

Winner Purfex Excellence in Textile Design for Apparel Award 2008

Winner MSO Design and Art Production Best Portfolio Presentations Award 2008

INDUSTRIAL AWARDS 2008

NATIONAL AWARDS: INSTITUTE OF DESIGN FOR INDUSTRY AND ENVIRONMENT

67

SAM ROWSELL


ALEXANDER WASTNEY

Dyson Product Award 2008, Gold


DANIEL MCLAUGHLIN

DINZ BeST Award 2008, Bronze

SANDY PAWSON


JULIET WHYTE

Winner Zonta Design Award, Industrial, 2008

STEPHANIE SCHICKER

ARTICHOKE® Magazine Prize for Design Communication 2008

Runner up Zonta Design Award, Spatial, 2008

CLEON FERREIRA

Winner Zonta Design Award, Spatial, 2008

SPATIAL AWARDS 2008/2009

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Type, form, colour, time and space prov-ide a palette of tools that are invoked to transfer a message or emotion in an ever-changing design environment.

This year saw increased growth in Master of Design enrolments, a trend that is continuing through 2009. These students develop a deep rigor in research, theory and practice, culminating in a signifi cant piece of work. This qualifi cation follows the international trend as the qualifi cation of choice for design students and professionals.

INSTITUTE OF COMMUNICATION DESIGN

Students of visual communica-tion complete their studies knowing that nothing is as it fi rst appears. Throughout their time with the Institute of Com-munication Design, students re-examine knowledge to dis-cover the power, beauty and meaning of visual media.

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Our academic staff are also constantly push-ing the boundaries of design with the emergence of new centres of excellence, with expertise and international connections, refl ecting the new global culture of design research. Areas such as typography are experiencing a signifi cant renaissance, driven by informed theory and practice. Other areas, such as graphic design, digital media, illustra-tion, advertising and contextual studies are increasingly incorporating research into the creative process, connecting these areas to global research conversations.

It was our best year at the BeST Awards 08, with an impressive 29 awards, 10 of which

were gold. This included a graphic ‘Stringer’ Design Award.

This year’s graduating students refl ect a diverse range of specialities and potentials. Following graduation, these new designers will be absorbed into the design community and, over time, will become the new creative leaders. By maintaining their links with Massey, the dialogue between education, research and practice will continue to fl ourish and sustain visual communication as an integrated component of today’s society.

GRAY HODGKINSON

Acting Head of Institute, Institute of Communication Design

71

As advertising permeates every level of our society, the responsibility our graduates face is signifi cant. While encouraging our students to be innovative and insightful, they still need to be alert to the powerful affect their work can have on societal stereotypes.

The Advertising programme has been very successful in the training of advertising lead-ers in all areas of creativity, as well as art directors, copywriters, and account service over the past 18 years. Our graduates have achieved notable successes in the industry both nationally and internationally.

The programme maintains a strong link with industry. Our enviable reputation of pushing the envelope in the practice of both strategic and creative thinking is paramount to the programme’s success.

The 2008 Advertising graduates have clearly demonstrated their passion and profession-alism for their respective crafts. It is with confi dence that I farewell them into their respective industries. I wish you all long and illustrious careers and look forward to learn-ing of your future accomplishments.

EUAN ROBERTSONADVERTISING LECTURER

72

ANNA ALICIA HERMANN

MSF take their medical expertise and equipment anywhere in the world they are needed. This campaign asks for help in doing just that.


RYAN BURROWS

This project Spring Tide promotes beer to gay Kiwi men, but without employing sexual imagery or stereotypes. Pay off: ‘The beer with benefi ts.’


73

KIMBERLEY HO

LookSmart Alterations - Because everybody is different.


NICOLA EDHOUSE

Winner Y Media Challenge 2008

74

ALISHA HOPKINS

This project explored the misuse of Methylphenidate on children with ADHD. The campaign aims to educate and encourage the consideration of alternative treatments.


GIRISH PARBHU

A swap of the rational for the ridiculous was used to inject

some life into the promotion of healthy products.


75

JENNA PARDEY

This project explored appropriating the successful recruitment strategies of gangs, into other areas of advertising that are trying to recruit the same target audience.


MICHELLE TRIGGER

We do what we know until we know better.

The Weapons campaign serves to provide New Zealand principals with the motivation and opportunity to take action against cyberbullying in their schools.


77

As technology continues its pervasive infu-sion into everyday life, the term digital media undergoes constant redefi nition. Media forms are in constant fl ux, with dynamic interplay between areas such as video, ani-mation, interactivity and motion graphics. Interactivity once described a mouse and a computer screen, but now has expanded to include cell phones, ipods, GPS, motion tracking and the ever-evolving Web.

As proponents of digital media, students begin to interrogate both their own role and the state of media, suggesting new and innovative ways of bringing disparate ele-ments together. Even in the areas that are considered traditional, students challenge conventions with research from a wide range of sources, giving their work increased meaning and purpose.

Fundamental to all study in digital media, is an awareness of adaptability; today’s hot tech trend can soon become tomorrow’s old news. Students leave Massey with strong skills in how to deal with change, adapt, and become award-winning experts and leaders in their fi elds. With an emphasis on investi-gation and problem solving, coupled with the desire for new forms of creativity, gradu-ates from our Digital Media programme are well positioned for today’s society.

STRUAN ASHBYDIRECTOR FOR DIGITAL MEDIA

78

SCOTT BURROWS

A collection of computer generated concept images detailing the possible negative effects of current global trends on Wellington City in 2071.

[email protected]/scott

GUY DAVIES

The extensive bombardment of mediated communica-tions in our daily lives leads to a corrupted and illusory perception of natural reality.

Seek to infl uence. Seek an alternative!


79

BRENT DICKENS

Click local is a social networking website that allows local people to fi nd and meet with each other so they can improve their local environment.

[email protected] 911 030 JAMIE FERGUSON

Collect is an online collaborative workbook for designers to help with

idea generation.

[email protected] 308 3875(04) 382 7100(04) 380 0872

80

JEREMY FORT

Sector B-37 is a short animated narrative which speculates about a possible future scenario on Earth. Climate change has devastated the planet, and the remaining animals have been forced to adapt in order to survive within this harsh environment.


MARK HANSON

Video still from Fizz Factory, a short fi lm shot on location at the Foxton Fizz Factory, part of the DVD White Fungus Video issue 1.

027 221 [email protected]

81

STEPHANIE HERMAN

“People play games to be somewhere they can’t be”.


JULIE HOLMES

“Until he extends his circle of compassion to include all living things, man himself will not fi nd peace” – Dr Albert Schweitzer


82

RACHEL HYDES

A narrative 3D animation that promotes the positive role of male primary teachers to students.


GEOFFREY JOE

Music has the ability to inspire creative change and transformation. It can trigger memories, create emotions, colour our moods, affect out perceptions and generate behavioural pattern.


83

KOU JIAN

Through this 3D animation, I explained my idea thathumankind should not step over our knowledge.


KELLYANN HEE

A web-based interface for browsing music that reduces the need for extensive graphical elements.


84

IAN LOVERIDGE

Journeys through the void. Travel a surreal dreamscape on the back of a giant turtle. Your spirit guide, a companion in the dark.

[email protected]

MATT HING

Quick call the exterminator! This ship is infected with gigantic bugs.


85

WILLIAM MINTY

Game-based learning was utilised to create an accessible and engaging environment for primary schoolers to discover opportunities to apply te reo Ma-ori throughout everyday situations.


RAYMOND CHAN

We get scared in this crazy world and forget it’s just a ride… don’t be afraid because the ride’s more fun with your eyes open.


86

XIAO TIAN

This 3D animation adopts 2D Anime visual style, telling a story about an adventure of three brothers in a place called Sky Rocks.


87

MICHELLE SU

Counting the difference is an interactive info-graphic which shows individuals the impact of everyday household energy consumptions overtime.


KENNETH TO

Computer animation is an ideal medium to recontextualise a classic novel, combining it with related theories and an updated visual style.


88

GRAHAM WILLIAMSON

I have used 3D computer animation to create a 3D animated narrative expressing the process of viral infection.


89

VICKY YANG

In the fi eld of animal behaviour research, the researched species are often observed in a very constrained environment, which impacts badly on the animals’ mental health.


YAROSLAV KHMEL

The Survival Game is an interactive educational programme, designed to provide a multisensory learning experience in a believable environment, and to then test the player.


91

Today’s knowledge economy presents both enormous challenges and opportunities for Graphic Design graduates transcendent of any geographic context, isolated discipline, or optimised concept. Beyond traditional skills and vocational knowledge, graduates of the Graphic Design programme have been encouraged to cultivate a “creative leader-ship” in their search for the ‘new’ by considering conceptual approaches that blend broader understandings with specifi c design knowledge – ultimately articulating their ideas in compelling ways enriched by the diverse experiences and perspectives gained through the course. For this reason our graduates are capable of applying their creativity and communication skills to a broad range of industries, businesses and profes-sions outside of, and additional to, the traditional role of a graphic designer. They have the capacity to shape the future of their industry by addressing innovations in tech-nology and wider social changes in society. We look forward to following the achieve-ments of this year’s graduates and the impact that they have within the evolving fi eld of graphic design as they extend beyond existing disciplinary boundaries, challenge entrenched thinking, and continue to ques-tion what it is to be a ‘Graphic Designer’

MARK BRADFORDSUBJECT DIRECTOR, GRAPHIC DESIGN

92

EMMA ARMSTRONG

City Break is a large book that is a state-ment of the experience of surfi ng at a local break shown through type and image.

[email protected]

KATE ARNOTT

A fl exible system of visual communica-tion that refl ects the bustling, energetic,

vibrant atmosphere that is Wellington Creative Markets.


93

DANICA ROSE ATKINS

‘From mindless design to design mindfulness’… As design sits on the transitional cusp of sustainability, this self-refl exive manifesto challenges the current disconnect between an emerging design generation and an equally undefi ned social/design paradigm.


MAIRE BADGER

Type Specimen promotion

This design piece explores the potential of Centaur as a contemporary typeface through re-contextualisation and association.


94

NIKITA BAZALO

In a world bombarded with misleading marketing claims, ethical coffee is no exception. This coffee brand was created to inspire and educate through the everyday consumer experience.


JEMMA BENNETT

Design for Social Inclusion – Information design for the elderly & vision impaired that relates to local events & activities, so as to enable community involvement and encourage social inclusion.


95

SARAH BOWIE

This project builds a documentation of the history of Matiu/Somes Island by using remnants from inhabitants as inspiration for a graphic and typographic direction.


TODD BRAGGINS

Chernobyl Children – between the lines

These are the children I created as one part of a graphic solution, for a book which focused on the

emotional detachment created by the statistics sur-rounding the 1986 Chernobyl Nuclear accident.


96

SU CHIN CHOW

“Within contemporary environments, shopping is now arguably one of the defi ning activities of public life. It is the medium by which the market economy has solidifi ed its grip on our spaces, buildings, cities, activities and lives.” Leong, S. T. 2001.


CHARLOTTE CLARK

Peas if you please! informs children about the cycle of the pea from seed, to plant, to plate, and back to seed.


97

ANEEKA CLAUS

Exploration of a visual language specifi cally designed to depict

statistical information of the pacifi c in a way more appropriate to the

culture it originates from.


98

HANNAH DOLLERY

‘Becoming sustainable is a journey. There is no ‘ideal’ available yet; because we are still designing it.’ - Megan Hosking


JOEL COCKS

A project exploring the role PR fi rms, political consultants and the media play in shaping the public perception of political candidates.

[email protected]

99

TIM DONALDSON

A sad and depressed elephant, hand crafted and mis-printed from a wood block to give it an obviously-not-digital aesthetic.


LAURA FORLONG

Employing a decorative process and aesthetic,

to re-assert the ‘abject’ of urban Wellington, as a valid

part of the visual landscape.


100

JAYSELL GOPAL

Using the book as a metaphor for the mind, demonstrating the effects

of Post Traumatic Stress Disorder.


ILKE GERS

This project investigates the relationship between our minds and information in our environment, from the point of view of philosophy of human culture and cognition.


101

DAN JOHNSTONE

Threadhed. Bringing people together with a stitch of crochet.


ANNIE JONES

With every action, people make trash. Casually, as a matter of course, we throw things away. This project explores the beauty of waste to inspire refl ection and motivate change.


102

JUNG-YOON LEE

Dari is a display typeface that is created to bridge Korean Hangeul and English.


ASHLEIGH LAMBERT

An exploration into how tech-niques from the fashion construc-

tion process can be adopted to communicate the design process.

[email protected]

103

MARTIN LEE

This project explores our relationship with the web through print. Our inter- actions within the internet are given form as a portrait of the virtual self.


ANNA LINDSAY

This project, a Typographical Weave was an explora-tion into New Zealand’s cultural diversity. Twine was a typeface developed to refl ect the unique hybridity of cultures, which reside in New Zealand.


104

EMILY MACRAE

The visual and oral history of the iconic Bar Bodega on Willis Street, Wellington.


LARISSA MCMILLAN

How do Ma-ori identify themselves in contemporary society?


105

EMMA MICHELSEN

Continuing Bonds: An exploration of the gifts of patriotism, hero-ism and sacrifi ce. A typographic war memorial informed through interdisciplinary research.


PITCHIN NG

A decorative typeface created by using The

Bucket Fountain to refl ect the culture and identity of Cuba Street, Wellington.


106

CHARLOTTE O’KEEFE

This is a sample of pages from my book entitled Treachery of Images, which focuses on women’s representation in media and media infl uence.


RICHARD PAYNE

The fi rst astronaut to land on the moon left an inscription set in Futura caps:

“… we came in peace for all mankind”.


107

MICHAEL PESTER

Through observation of the Wellington-based progressive rock band The Novelist, I designed a visual biography of the band, through their process of writing, recording, practising and performing.


SAMANTHA ROUSE

Our Backyard, Spread the Word:

This project aimed to explore how visual and tactile communication can inspire a local audience to sustain their surrounding natural environment.


108

RUTH SEATTER

Urban Paradise is a journal, which reminisces, celebrates and questions

our ‘natural’ national image within an urban area, from early settlement to today.


LAUREN RUSSELL

“ I make my work out of my everyday experiences, which I fi nd as perplexing and extraordinary as can be.” Claes Oldenburg


109

KHAMARA THOMSON-BAKER

Every individual has their own story of colonisation within New Zealand. To explore this I have taken my own area in North Taranaki; Mimi Road.


RANGA TUHI

Ma-ui with two of the birds that accompanied him on his quest to obtain “Eternal life for mankind” from Hine-nui-te-po-, the Goddess of death.

[email protected](04) 232 5143

110

COURTNEY VAN BEEK

We are the only species on the planet to create harmful waste. This is a nature inspired package for designers to give back to Mother Earth.

[email protected]

ZOE VIRTUE

Packaging Calmness.

AMI offers no claim benefi ts through a hypothetical, soothing and calming confection.


111

ROBERT MICHAEL WALLACE

An exploration concerning contemporary ideas of identity throughout the awe-inspiring Multiverse, in the form of an interactive poster.


MEILIN ZHONG

A project about humour is written by life itself, it comes from our everyday life; it’s all around every day. I used graphic design to communicate the ‘spirit’ of humour and apply this to the promotion of the Wellington Comedy Festival.


113

Illustrations are like words—visual words. They are pictorial translations of thought. Whether created out of ink, paint, pencil or pixels, they too make us think, perhaps in a more immediate way than the written word. This year’s illustration specialists present a diverse body of highly engaging work.

Whether it is to visually describe and com-ment on physiological conditions such as synaesthesia or dyslexia, or provide com-mentary on how Pacifi ka culture assimilates into, and helps develop New Zealand culture, this year’s graduates demonstrate why illustration is such a powerful communi-cation medium.

As design education in the 21st century becomes less about the production of mate-rial artifacts and more about refl ecting the society we live in, the focus is on how our ‘thinking designers’ shape experiences.To that end, our Illustration graduates have developed highly sophisticated design strategies to engage society with their messages.

MIKE MCAULEYSUBJECT DIRECTOR, ILLUSTRATION

114

ROSALIND ATKINSON

Imaging the Invisible

Unlocking, from a series of eight editorial illustrations exploring how to express ideas of synaesthesia – union of the senses.


ODETTE EAVES

Clyde is the infamous otter who escaped the Wellington Zoo

and had an adventure in New-town. This scene is him being discovered in the student fl at.


115

ROWAN FALCONER

This project explores the cognitive issues of dyslexia through the use of metaphor and illustrated narrative.


ALEX FOX

Cuba Humanimals: An exploration of subcultures in Cuba Street, Wellington. Placing characters back into their original context to see how they are manipulated

in this space over time.


116

LEILANI ISARA

Through celebrating the evolution of Pasifi ka Aotearoa, I hope to create a sense of place, history and identity for New Zealanders with Pacifi c roots.


Visual Communication, 2008


JOSHUA MORGAN

This illustration of my great, great grandfather Sam Kirkpatrick, who

was deported from Scotland for tickling trout, was one of a series

exploring whakapapa.


117

MICHAEL PAYNE

A new sound for pictorial narrative

This project explores an unconventional technique of storytelling that is based on the rhythm and structure of music.


RACHEL WALKER

This piece combines illustration and photography to refl ect the

philosophical notion that we are all falling through time.

[email protected]

027 489 8662

118

NATIONAL AWARDS: INSTITUTE OF COMMUNICATION DESIGN

SIMON FAISANDIER


EMMA BEVERNAGE


Stringer Award 2008, Gold

ALICE DODDRELL


DIGITAL MEDIA AND ADVERTISING AWARDS 2008

GRAPHIC DESIGN AWARDS 2008

MICHAEL HOURIGAN


SARAH HARRIS


EMILE HOLMEWOOD


STEPHEN BUTLER


NICOLA EDHOUSE

Winner Y Media Challenge 2008

JULIAN LEGGE


119

GEMMA MCCABE


GRAEME OFFORD


DANIEL PEMBERTON


JENNIFER WATSON


BRENT WILSON


NATASHA VERMEULEN


KYLIE PHILLIPS

DINZ BeST Award 2008, GoldType Directors Club Award, 2008

Graphis New Talent Award, 2008

KIM SENG


DEAN IVAMY


LAUREN MARRIOT


LEILANI ISARA

Winner Zonta Design Award, Visual Communication, 2008

120

The School currently has two signifi cant research bases; The Litmus Research Initia-tive, an internationally focused programme devoted to scholarship in contemporary art, and a second Research Cluster who’s res-earch represents the School’s unarguable position as New Zealand’s premier provider of degree level photography. There is a dynamic and innovative culture that per-vades the school.

The School of Fine Arts at Massey University offers degree courses in Photography and Fine Art from undergraduate through to Masters and PhD level, and an undergraduate Diploma in Photography.

SCHOOL OF FINE ARTS

121

The staff that teach on the programmes are notable for their research activities and as exhibiting professional artists, academics and writers. The students who emerge from our courses are imbued with a sense of excite-ment and purpose. They have comprehensive skills in working across a range of media, and the critical and analytic tools with which to explore the global dialogues of contemporary practice. Their panache and élan are well

noted by the creative sector nationally and there is a genuine buzz around the creative community of Wellington anticipating the future careers of these new professionals. The staff of the School of Fine Arts would like to wish the graduates success and fulfi lment in their respective futures.

PROFESSOR JEREMY DIGGLE

Head of School,School of Fine Arts

123

Our graduates this year will head into a world increasingly reliant on the photo-graphically derived image. At Massey they have learnt to apply photography to a huge range of contexts - from documentary practice through to highly specifi c client driven applications. A comprehensive under-standing of photographic history and the role of the medium in the social realm also informed student work.

We are confi dent that our graduates will use their skills and knowledge to push the boundaries of the medium. In 2008 all of our students were exposed to a regular pro-gramme of visiting photographic artists and arts professionals. We have developed an exciting relationship with the Goethe Institut that has enabled us to host a series of lead-ing German photographers and curatorial experts. This programme – Tiefenscharfe - will continue to develop strong international links between the School of Fine Arts Pho-tography Department and the German photographic scene over the next two years. In addition to supporting student learning this initiative also has signifi cant benefi ts for research within the School.

The Peter Turner Scholarship in Documen-tary Photography was also launched in 2008. The quality of the fi rst applications confi rms that we will see some exciting projects generated by the recipient in the Master of Fine Arts programme. We look forward to graduates taking this opportunity to enable them to return to postgraduate study in the future.

WAYNE BARRAR DIRECTOR OF PHOTOGRAPHY

124

KATE BARTLETT

Clean air, or a Muggy Future? Global warmings call for cleaner energy.


ROCHELLE DENT


125

JULIA FERRIER

Constructed Portraiture.

Personal space as a refl ection of identity and in turn an

extension of the body.


AMANDA ELLIOTT


126

TARA HEERAN-HARRIS

Untitled from the series Witnesses is a response to the way in which crime, violence and death are glamorised in the media today.


MEL HENDERSON

Larger than life.


127

RUTH HOCKIN


128

LEANA KEEN

Neverland – Putaruru series

A journey of memory, magic and adventure.


EMMA KOTSAPAS

[email protected] 334 9799(04) 383 6838

129

MURRAY LLOYD

Moutoa Gardens is an image from the series Scenes in Ma-oriland

in which early 20th century New Zealand postcards are placed

within a contemporary context.

[email protected]

(04) 976 6733021 473 999

ANNA LAWRENCE

As Ma-ori bloodlines have become diluted signifi cant aspects of Ma-ori cultural practice have diminished resulting in Ma-ori descendants searching the void of their cultural conditions.


130

SAMANTHA LOWNDES


131

LUCY JANE BEATTIE-HUGHES

Order out of chaos

Imagery from a contemporary perspective, which explores familiar objects, space and memory to re- evaluate and re-view my family archive.


SARAH MACDONALD

How can photographic methods be employed to explore people’s impulse to control and construct nature, within the domestic garden?


132

LUCY MCLEAN

Affl icted Splendour

Notions of the Romantic have merged with the Sublime, creating a sick beauty and aesthetic magnifi cence that implies impending danger and threat.


JESSICA MICHELS

The objects we align ourselves with become a shrine, a homage to the person we aspire to be. This work critiques the ‘building’ of identity through consumerism.

Runner-up Zonta Design Award,

Photography, 2008


133

ROCHELLE PEPPER

Blood & Water

[email protected]

MIZUHO NISHIOKA

Far North

This research aims to locate a role for the archive within photography, specifi -cally focusing on where photography intersects with the process of the archi-val and how might the archival mode of photographic practice assign value to a given set of images.

[email protected]

134

TIM SEARLE


JESSICA SHERLOCK

Eva Strangelove, burlesque dancer.


135

AMY SISSON

Portraiture series looking at the absence and presence of the sitter in the photograph.

- Winner Zonta Design Award,

Photography, 2008

- Epson NZIPP Iris Awards

2008, Bronze Medal


136

ALICE SKINNER

In-between Places.


NINA VAN DER VOORN


137

ALISCIA YOUNG

Illuminations: Illuminating a replication of an ephemeral moment in time, as derived from nature.

[email protected]

139

It is with great pleasure that the staff of the School of Fine Arts extend their warmest congratulations to all our graduates of 2008. During their time with us, these stu-dents have benefi ted from an astute, inquiring and supportive culture – one that they have helped create, and also partici-pated in. We know that this model will hold them in good stead as they go on to a vari-ety of active roles in the cultural fabric of New Zealand and the world beyond. We are proud of the fact that graduates from our programmes work thoughtfully, inde-pendently and collaboratively, and are valued for their ability to effectively combine a wide range of media and processes. The School’s focus on interdisciplinary training is intended to enable our graduates to work across conventional boundaries - from new forms of image generation to interface technologies, from material and spatial exploration to planning and urban develop-ment, or indeed any new industry requiring fl exible, creative and lateral thinkers. We look forward to following their progress as they move into new opportunities as artists, consultants, teachers, freelance practitioners, art writers, curators, techni-cians, project managers, in postgraduate study or the many other paths they may decide to follow.

MADDIE LEACHUNDERGRADUATE PROGRAMME DIRECTOR, SCHOOL OF FINE ARTS

140

DEBBIE ALLAN

Video still.


CATHERINE CAUDWELL

The Analytical Daughter

“We may say most aptly that the Analytical Engine weaves algebra-ical patterns just as the Jacquard-loom weaves fl owers and leaves.” Ada Lovelace


141

GEMMA DUNCAN

Hanging Hill 2008

[email protected]

R. KENDRA EDGE

If these pages were people they’d be undressed. Just undressed. Still marked by the weave of cloth, the ridge of seam, the clutch of strap.


142

WAIMATAO FAMILTON

Video stills from performance piece and remnants of performance: Ma-ori brown eyes. A celebration and critique of cultural social standings.


HANNAH EDMUNDS

The role of the Cinematic and Video Art is becoming increasingly blurred. When

aligned with the notion of the audience as participator it

raises the question of Art as entertainment.


143

LARA HEWALD

The 3D form is comprised of geometric shapes from

architectural structures. It is a site-specifi c work referencing

the space it occupies.


SARAH PETI SIAN HUDSON

An exploration of ideas around femininity and feminism, self-portraiture

and memory, childhood and sexuality, fetish and the grotesque.

[email protected]

144

JOHNATHON TITHERIDGE

Time-Based

I prefer things that move and stand still at the same time.


PHILIPPA MALLINSON

Ambiguous, quiet and restrained.

An amplifi cation of the unconscious quotidian, the quiet contemplative nature of the work gently jolting the

viewer into a self awareness.


145

KEILA MARTIN

“Motivated by the status of contemporary painting, I explore themes of death, plasticity, excess and obsolescence

in otherwise traditional still lives”.


MARG ROBINSON

This is a confl ation of iconic painting and mundane materials.


146

SHANE MCGRATH

Regressive Action No.1

[email protected]

CHRISTINA OLDFIELD

David MairPhotomedia

Spatial ResidencesContextual Studio

christinamicheleoldfi [email protected]

147

REBECCA RAIT

There is a continuous shaping of space that

takes place as we re-order, re-organize and re-arrange

those places we inhabit.


NATALIA KARENKA PARRA-SIERRA

In Between Cities 2008

This print has several plates with vibrant colours and textures of different materials, presenting a vision of Wellington city, intersected with ideas of Bogotá, Colombia.


148

KRISTIN VAN DER POEL

A playful exploration of intervention into various domestic and public sites involving altered everyday objects and

the manipulation of function.


SAMANTHA WALLIS

Ideal moth catching conditions…warmth, darkness, humidity, night scented plants, sugaring solution and Robinson light traps.


149

ANA WHITLOW

2E0.6 (detail)

[email protected]

JANE WILCOX


150

Three years ago I mentioned in my speech to career advisors from Auckland’s secondary schools that our students and staff have something in com-mon; we have a very healthy disrespect for the impossible. In many ways we have now proven to our local and inter-national colleagues in both industry and academia, that we have risen to an interna-tional standing.

AUCKLAND SCHOOL OF DESIGN

Since our inception in 2003, our graduates have won awards nationally and internation-ally. The latest was Carolina Pena Villarreal who won the Bronze award in the 2008 Business Week’s International Design Excel-lence Award through ‘Close Up’, an art table designed for collaborative learning. Carolina was the only winner from New Zealand fea-tured amongst other top students from all over the world.

At the Auckland School of Design, we have a clear agenda. Through research and teaching, we contribute to New Zealand’s economic and social interest through the creation of products, systems and visual communication messages. It is very timely,

151

therefore, that we are introducing a new major in Integrated Design in 2010. Students in this new major will be at the leading edge of creativity shaping the future. Through forward-looking and innovative integrated design solutions, they will offer new, creative ways to solve current and future design issues. These are the skills sought after by employers.

The work presented in this year’s publication to a certain extent illustrates the results of integrating design skills, business acumen and futuristic thinking. Regardless of their majors - Transport, Industrial or Visual Com-munication, all these research projects look

at issues that are important and real to all of us. You will fi nd, among others, the creation of products and systems that address issues of sustainability and social responsi-bility. Many of the projects were sponsored by companies and some of those are either in the process of being commercialised or have been patented.

Congratulations to the students and staff of the School for the achievements of 2008. I wish all our graduates success and fulfi ll-ment in their careers.

AZHAR MOHAMED

Head of School,Auckland School of Design

153

Each year the fi nal year students are asked to defi ne their major research project. In the early stages they evaluate questions with unclear and shifting boundaries. We ask of them: Is the problem area too big to work or too small to be relevant? Will the result be meaningful? Or will it be another object in which valuable materials and resources are lost in an endless wasteful cycle?

The process of researching such an open problem reveals not only surprising insight for all parties, but gives the initial question a whole new spin. The clearest proof is the relevance of a well-conducted design research process and the energy invested in it.

Being aware of crossing the dimensional categories in favour of more integrated solutions, the introduction of the new major in Integrated Design is the next logical step. With this in mind, I applaud the research projects presented here, and I look forward to seeing the graduates as agents of change in the industry and community at large.

OLIVER NEULANDPROGRAMME LEADER FOR INDUSTRIAL DESIGN, AUCKLAND SCHOOL OF DESIGN

154

BREE ASMUS

Embrace37 is a controlled heated environment designed for premature infants. The objective is to minimise issues of intimidation and psycho-logical separation often found within NICU or SCBU units.

DINZ BeST Awards 2008

Bronze winner

[email protected]

KRISTOPHER BORRIE

Sea Doo Matador – Advanced Diver Propulsion Vehicle

The Matador is an advanced version of a recreational DPV (Diver Propulsion

Vehicle), developed to meet the demands of experienced Scuba divers.

[email protected]

155

OLIVER CAVE

Anthozoa Chair

33.5m of steel, 218 welds, 1 lounge chair.

The Anthozoa Chair is a result of the Industrial Craft project which looked to combine craft ideals with industrial processes.

[email protected]

WEI SEN CHOW

Got’cha – the next generation electronic tag game

Got’cha incorporates cutting edge touch sensor technology

with the traditional outdoor game of ‘tag’. The result is a fun fi lled,

interactive experience, illuminated to play night or day.

[email protected]

156

BEN DENMEAD

Revilo Teaching Guitar System

A Teaching System for beginners which uses a guitar with a remov-able touch screen unit including a music viewer, effects processor, tuner and more.

[email protected]

HANEEN FAHMI

reLoos

Reloos is a kit of wearable products created through the integration of fashion

design and technology, which aims to bring awareness of stress levels to the user.

[email protected]

157

ADRIAN FRENCKEN

EarthWyze – Recycling for the 21st Century

The Earthwyze recycle bin is an innovative version of the wheelie bin that incorporates a compartment to recycle ’special disposal’ items like eco-bulbs and batteries that do not biodegrade.

www.mammoth9.comwww.earthwiza.blogspot.commammothstudio9@gmail.com

DANIEL GREENWOOD

U SPY – Self diagnosis kit for Skin Cancer

The U SPY is a simple home use product to enable users to view and monitor their moles with a portable camera, with follow up from their dermatologist.

[email protected]

158

WILLIAM HARBIDGE

Façade

This stylish media hub boasts a unique modular setup, wireless signal transfer and uncomplicated transparent media panel resulting in easy setup and opera-tion for any user.

www.fl uentdesign.co.nzwilliam@fl uentdesign.co.nz

PAT KIM

bite!

An educational lunchbox for children, incorporating a screen

with friendly characters, it is easy and fun for children to learn and

keep record of what they eat.

[email protected]

159

JOSEPH NELSON

Rei – Urban Electric Motorcycle

An urban electric motorcycle for the youth of the future.

Powered by recyclable Lithi-umion Titinate batteries the

Rei can reach speeds of over 100km/h with

a 300km range.

[email protected]

IMOGEN MAIDEN

A freestanding coffee machine for semi-public spaces utilizing wireless power technology. The mobile device was designed to enhance social interaction in com-panies and larger institutions as well as to promote a sustainable, but high quality coffee experience. The machine should reduce the use of prepacked single serve pods and takeaway coffee in paper cups.

onefi [email protected]

160

CHARLES NICOLSON

Rush Rugby is the next step in the evolution of sport, combining modern touch sensor technology with a fast paced, action fi lled game.

[email protected]

TOM PARSON

The Aquadro is a quad bike body shell, designed specifi cally for surf lifesaving. It holds vital life saving equipment and will replace that

currently used by surf lifesaving clubs.

[email protected]

161

ALISTAIR PATTERSON

Bio Bottle is an additive en-hanced, Poly-lactic Acid, bulk

water bottle that splits after use and forms two plant pots that will biodegrade in the garden.

www.alistairpatterson.com [email protected]

CAROLINA PEÑA VILLARREAL

Snowfl ake is a playful therapeutic device for children with Sensory Processing Disorder aimed at extending the benefi ts of clinical therapy to their school and home environments.

2008 Business Week’s International

Design Excellence Award; Bronze

[email protected]

162

GRANT SCOGINGS

PlaySmart’s Rugby Training Tool is the fi rst step towards a new breed of precise electronic training equipment for rugby league and rugby union players.

[email protected]

ANN NA TEOH

Rainfl o: Transforming the landscape of Auckland’s Quay Street on a rainy day to increase tourist attractions during New Zealand’s wettest and lowest tourism season.

[email protected]

163

DANNY WILSON

Nviz, Video See – Through Personal Display Glasses

Nviz, a 2015 future concept for gaming hardware that utilises a technology called Augmented Reality (AR) which superimposes 3D digital content onto your immediate environment in real time.

[email protected]

INDUSTRIAL DESIGN AWARDS 2008

KENT HODGSON

Dyson Product Award 2008, Finalist

BREE ASMUS


STEPHEN SMITH

Grand Prize, Dyson Product Award 2008

CAROLINA PENA VILLARREAL

2008 Business Week International Design Excellence Award, Bronze

165

The quest to design a more effi cient form of transport started a long time ago with the discovery that human beings are by far the fastest in getting from A to B. As the world evolves from discovery to industry to psy-chological fulfi lment, we naturally want to explore the world, to win competitions, and also to create objects of desire.

The work of these Transport Design graduates showcases the afore-mentioned objectives. This year we are very proud to see a range of research projects that not only fulfi l what the industry expects from the graduates, but also those that pushed the boundaries further. Projects this year tackled issues ranging from performance yachts to stability on roads to revolutions in wing-in-ground effects. The design outcomes clearly demonstrated a healthy quest for design through research. For this, I congratulate the students as they have produced what is comparable to some of the best work produced by top design institutions internationally.

This leaves us hungry for more - we now encourage graduates not only from design but also from other relevant areas of tech-nology and engineering to join us in the pursuit of excellence through graduate stud-ies in Transport and Integrated Design. Let us demonstrate New Zealand’s history of design ingenuity to the world.

AZHAR MOHAMEDHEAD OF SCHOOL, AUCKLAND SCHOOL OF DESIGN

166

SOPHIE AMESBURY

Isis is a unique, luxury super yacht with an environmentally aware focus. Sixty metres long, it can elegantly accommodate up to twelve passengers.

[email protected]

ALEX BOWLER

The Rival is a revolutionary new motorbike which turns using centre hub steering. This greatly reduces oversteer and increases agility, giving the driver more confi dence when riding through curves.

[email protected]

167

JOHN BUKASA

Targeting environmentally conscious driv-ers, the iCar brings a unique and creative approach to transport design for the urban environment of 2027.

[email protected]

JAMES BRETT

Aihe p16 Proa

Inspired by the highly effi cient designs of Micronesia, the Aihe is a 16m, high performance cruising yacht with an aesthetic like no other.

[email protected]

168

ISAAC BURROUGH

Morpheus is a concept for a wing-in-ground effect super yacht. Designed to fl y in close proximity to the water surface, it is effi cient, fast and comfortable to ride in.

[email protected]

HAYDEN DENNIS

The Outlaw 28, with its dedicated game fi shing

features and luxurious layout, is a perfectly balanced sport fi shing machine designed to

rival others in the super yacht/sport fi sher market.

[email protected]

169

ALASTAIR THOMPSON

Alchemy is a 50 m high performance luxury super yacht. With its elegantly sleek hull construction, it provides a fast, stable, stylish and comfortable ride.

[email protected]

THOMAS PAYNE

Aura74 Exploration Superyacht

This 74m exploration super yacht pushes the boundaries of what is achievable,

technically and aesthetically. Fusing elegance and aggression, the over all

styling is minimal, functional, and organic.

[email protected]

171

Communication and design are both funda-mental categories of human activity. As such, our graduates spend 4 years at Mas-sey gaining the expertise to enter the wider world as the potent and necessary force that drives our culture onwards and upwards. Expertise that is evidenced by the raw talent, craft, dedication and integrity exhibited in this book.

Our graduates have not only gained exper-tise and knowledge concerning the fundamentals of graphic design, visual liter-acy and typography, but have also honed their personal voices by tackling problems, issues and concerns current in our society. In creating responses to these larger socio-cultural concerns our graduates express the critical component of a Massey University education: the desire to defi ne the world around them, combined with the expert skills that allow them to do just that.

In reviewing the projects contained in this book, I am fi lled not only with pride in the work of our graduates, but the confi dence that New Zealand is better off for their being here to care for it. Speaking as an emigrant myself, our students can take pride in know-ing that they stand on a level with graduates of the fi nest institutions the world over.

JACOB RISTAUPROGRAMME LEADER FOR VISUAL COMMUNICATION DESIGN, AUCKLAND SCHOOL OF DESIGN

172

FRANCES BRAATVEDT

10/100 (or 10%) was born out of the desire to contest the old and idealised

‘100% Pure’ brand and to offer new views of New Zealand.

[email protected]

173

CARA JANE BRETT

Kiss Guide, Vehicle Maintenance

The Kiss Guide is designed to inform and instruct people on a

variety of subjects. Universal and generic, the information is not

restricted to a certain audience.

[email protected]

JI-MYOUNG (LINA) KIM

Roll the Dice

This campaign provides a visually appealing and attractive campaign with an ironic perspective that will help to communicate the consequences when gambling becomes an addiction.

[email protected]

174

MELANIE MATTHEWS

Make It Great is a promotional campaign designed to create

awareness and provoke excite-ment for the Rugby World Cup New

Zealand is set to host in 2011.

[email protected]

JUSTINE LEIGH

2byou Laptop bag range

The 2byou laptop bags are the computer accessory of the future. Unique and elegant, the bags offer culturally specifi c designs unlike any others.

[email protected]

175

CHEYNEY MCDONNELL

Foot Traffi c is the main event for Auckland’s creativity week in 2009. It is a tribute to the dying art form of Polaroid instant photography.

[email protected]

176

KENDYL MIDDELBEEK

See Red – The Story Behind the Stereotypes

This visual narrative began with the desire to explore the identity and subculture surrounding redheads, before they become resigned to the endangered species section of encyclopaedias.

[email protected]

CLAIRE PATERSON

NZ Orienteering – Interactive Media

This project is aimed at changing perceptions and increasing awareness of the little known and misunderstood sport of Orienteering.

[email protected]

177

CARLA SY

Think Dyslexic

Through the art of visual communi-cation my project aims to create an awareness and appreciation of the

specifi c skills, qualities and benefi ts that dyslexia can provide.

[email protected]

NICOLE SLATTERY

Watertalk is the fi rst set of water signals and safety equipment to standardise distress signals and may help save more New Zealanders from drowning.

[email protected]

178

MEGAN VAN STADEN

Daydream is a project featuring love-poems written to Auckland Regional Parks. A regional park becomes a metaphor for a state of release and recharging.

[email protected]

BRIAR VAN AMERINGEN

Vote for a change is a campaign that is specifi cally aimed to entice young people aged 18-25 to vote.

[email protected]

179

ERICA WILSON

Skin Works

Tattooing is found in ancient cultures across all continents. Skin Works uses these different cultures in an exhibition to explore narrative themes in Tattoo art and design.

[email protected]

LAURA WILSON

My New Zealand

This research looks at creating a brand for New Zealanders to help them make better choices when it comes to managing the environment we live in.

www.laurawilson.co.nz [email protected]

180

GEORGIA WITTEN SAGE

I Said No

My research explored the process of fi ring a gun, its physical and emotional impacts, symbols and imagery, and the impact of my personal experience with gun violence in Brazil.

[email protected]

181

JUNKO YANAGISAWA

Wabi Sabi – Japanese Sense of Beauty

Incorporating the expression “Nothing lasts, nothing is fi nished, and nothing is perfect”, this project aims to revive the tradition of Wabi Sabi amongst Japanese youth.

[email protected]

182

The postgraduate opportunities offered in Art and Design at the College of Creative Arts enable our students to experience extraordinary opportunities for more in-depth research in their chosen disciplines.

Postgraduate students are expected, with the rigorous supervision of experts, to research their ideas with reference to related texts, theories and practices. The postgrad-uate experience builds upon the skills acquired at undergraduate level and leads to

This year’s Exposure gives an excellent overview of the range and scope of the fascinating research work undertaken by postgraduate students in the creative arts.

POSTGRADUATE STUDIES

183

a consolidation in theory and practice that expands the horizon of possibilities.

In the pursuit of postgraduate projects in Design, Fine Arts and Visual and Material Culture, candidates will have challenged the expected and explored the unexpected. Their work will have involved questioning, investigation, experimentation, self-refl ec-tion, and the articulation of creative responses to research questions.

The outcomes represented here encompass visual, aural and tactile artifacts and sys-tems resulting from this enquiry, along with supporting documentation. It provides a fascinating glimpse into the range of res-earch possible in the creative arts.

I congratulate our candidates on their achie-vement and wish them success for their creative futures.

PROFESSOR JEREMY DIGGLE

Chair, Postgraduate CommitteeCollege of Creative Arts

184

JANE FRANCES APTHORP

Master of Design (Spatial)

The furniture tourist – escaping the habitué

As a tourist within my own research, I have utilised the processes of drawing, making, writing and photography to offer alternatives for viewing domestic furniture and how we use it. The explorations, which collapse body, space and object, allow inhabitation to become a form of tourism. This work triggers the imagination of the habitué by inviting a new way to understand furniture and domestic space.

[email protected]

185

CHRIS BROWN

Master of Design (Digital Media)

Motivation Contribution in a Networked Community Environment:

A study into the use of persuasion theory to inform the interactive design process of a social network.

186

CATHERINE DAY

Master of Fine Arts

Being storied; a lived experience of time

Sound, image, fi lm and text are employed in an exploration of durée, Henri Berg-son’s concept of the human experience of time. Life events have infl uenced the work leading to an investigation of mortality and memory. Central to the process are the mundane acts of everyday life – walking, listening, collecting and documenting.

[email protected](06) 372 7507 021 0239 5412

187

FRAZER D ELLIS

Master of Design ( Industrial)

How will Robocop communicate?

The conceptual design of a portable radio communication product for the NZ Police Force in 2018

This investigation aims to produce a Tait-branded portable radio product for the New Zealand Police force by focus-ing on how their communication requirements may develop over the next 10 years. To do this affective product design principles and speculative future scenarios are used along with an iterative design process.


188

DEAN IVAMY

Master of Design (Graphics)

Mapping the Environmental Footprint of the Central Plains Water Irrigation Scheme

Is food the new oil?

Decisions on the proposed Central Plains Water Irrigation Scheme have been left to consent-granting authorities because the issues raised are simply too complex for the public to grasp. This project suggests that statistical data visually mapped in the context of its physical environment can provide signifi cant cognitive awareness of both the schemes future economic and environmental implications.

[email protected]

189

STEFFEN KREFT


The fi lm Lepidoptera is a personal, dream-like illustration of the artist’s struggle for self discovery. The social, sexual and linguistic anxieties imposed on the protagonist manifest themselves corporally through a wide array of animation.


190

JOHN LAKE

Master of Fine Arts

Death poses for a photo while stalking the tree-lined dreamscape of suburbia.

Image title: Pure. From the series The Rise and Fall of Western Civilisation: Part One, 2007


191

KERRY ANN LEE

Master of Design (Illustration)

Living in the space between cultures offers rich potential to construct identity from the inside out. Home Made: Picturing Chinese Settlement in New Zealand interrogates the trans-formation of Cantonese settlers into Chinese New Zealandersthrough illustration design. By claiming the book as a space, unsung moments are made visible to challenge stereotypes and forge a new space for Chinese stories.


192

RACHAEL LINTON


Sound Vision

Imagine if light and sound from a television had the capability to release healing specifi c neurochemicals within the human brain. Sound Vision is an abstract and experimental short fi lm which presents some of the kinds of sound, light, colour and forms in motion which may encourage both physical and psychological change.


193

TANYA MARRIOTT


Storytelling Memories: a tangible connection to bomber command veterans

World War Two historians are diligently collecting the memoirs of veterans to preserve for future generations. This material culture of memory discusses human interac-tion. Storytelling Memories utilises a touch sensitive surface as an interface between the viewer and the memories. A physical controller, when placed near the digital interface surface will “unlock” contained memories, enabling an open-ended storytelling experience with the veteran.

[email protected]

194

MATT MCKINLEY

Master of Design (Industrial)

Re-energizing the fence: Designing a desirable electric fence system.

This Master of Design study utilises applied design research to develop a desirable, conceptual livestock electric fencing system for Gallagher Animal Management.

The research seeks to develop a new permanent livestock fence concept with a focus on the affective design features of the component system. The purpose is to improve product desirability, usability and experience within the overall constraints of existing farming practises, technology and marketing channels.

195

AMANDA YATES

Master of Design (Spatial)

Oceanic thought and contemporary theories of “the event” insist that space and time are inseparable dimensions. Through design-based research this thesis approaches the built environment as a spatiotemporal phenomenon. It critically refl ects upon the design of three houses that establish Pacifi c-oriented space as fl uid, experiential and contiguous with the natural environment.

[email protected] 504 503(04) 801 5799 x6764

196

Allen, Debbie

Amesbury, Sophie

Anderson, Brooke

Apthorp, Jane

Armstrong, Emma

Arnott, Kate

Asmus, Bree

Atkins, Danica Rose

Atkinson, Rosalind

Babbage, Natalie

Badger, Maire

Balmer, Eleisha

Bartels, Kate

Bartlett, Kate

Bazalo, Nikita

Beattie-Hughes, Lucy Jane

Bennett, Jemma

Borrie, Kristopher

Bowie, Sarah

Bowler, Alex

Braatvedt, Frances

Braggins, Todd

Brett, Cara Jane

Brett, James

Bristow, Sara

Brodie, Amy

Brown, Chris

Browne, Ruth

Bucknell, Ruth

Bukasa, John

Burrell, Sarah

Burrough, Issac

INDEX OF STUDENTS

Burrows, Ryan

Burrows, Scott

Caudwell, Catherine

Cave, Oliver

Chan, Raymond

Chow, Su Chin

Chow, Wei Sen

Clark, Charlotte

Claus, Aneeka

Cocks, Joel

Coles, Chloe

Coppin, Belinda

Davidson, Rebecca

Davies, Guy

Davis, Marina

Day, Catherine

Denmead, Ben

Dennis, Hayden

Dent, Rochelle

Dickens, Brent

Dollery, Hannah

Donaldson, Carrie

Donaldson, Tim

Duncan, Gemma

Eaves, Odette

Edge, Kendra

Edhouse, Nicola

Edmunds, Hannah

Edwards, Jessica

Edwards, Loren

Elliott, Amanda

Ellis, Frazer

140

166

12

184

92

92

154

93

114

32

93

12

13

124

94

131

94

154

95

166

172

95

173

167

13

50

185

32

14

167

62

168

72

78

140

155

85

96

155

96

97

98

50

14

15

78

63

186

156

168

124

79

98

38

99

141

114

141

73

142

33

15

125

187

197

Fahmi, Haneen

Falconer, Rowan

Familton, Waimatao

Ferguson, Jamie

Ferreira, Cleon

Ferrier, Julia

Forlong, Laura

Forster, Helen

Fort, Jeremy

Fowler, Brooke

Fox, Alex

Fraser, Amy

Fraser, Jamaine

Frencken, Adrian

Fu, Guo

Futter, Gabrielle

Garland-Levett, Harriet

Gers, Ilke

Gibson, Alanah

Gopal, Jaysell

Gray, Hayley

Greenwood, Daniel

Hanson, Mark

Harbidge, William

Hazlett, Charlotte

Hee, Kellyann

Heeran-Harris, Tara

Henderson, Mel

Herman, Stephanie

Hermann, Anna Alicia

Hewald, Lara

Hinchey, Claire

Hine, Megan

Hing, Matt

Ho, Kimberley

Hockin, Ruth

Hocking, Jake

Hodgson, Frances

Holland, Robyn

Holmes, Julie

Hopkins, Alisha

Hudson, Sarah

Hydes, Rachel

Isara, Leilani

Ivamy, Dean

Jian, Kou

Joe, Geoffrey

Johnstone, Dan

Jones, Annie

Kay, Jennifer

Keen, Leana

Kennedy, Katie

Khmel, Yaroslav

Kim, Lina

Kim, Pat

Kingham, Julia

Kotsapas, Emma

Kreft, Steffen

Kwan, Wendy

Lake, John

Lambert, Ashleigh

Larsen, Joel

Lawrence, Anna

Lee, Jung-Yoon

156

115

142

79

51

125

99

16

80

51

115

52

42

157

43

16

34

100

35

100

52

157

80

158

17

83

126

126

81

72

143

35

53

84

73

127

44

34

17

81

74

143

82

116

188

83

82

101

101

54

128

18

89

173

158

54

128

189

18

190

102

44

129

102

198

INDEX OF STUDENTS

Lee, Kerry Ann

Lee, Martin

Leigh, Justine

Lindsay, Anna

Linton, Rachael

Little, Charlotte

Littlewood-Rowe, Danieka

Lloyd, Murray

Lobb, Briar

Lopdell, Marie

Loveridge, Ian

Lowndes, Samantha

Macrae, Emily

Maiden , Imogen

Mallinson, Philippa

Man, Savann

Marriott, Tanya

Marshall, Melanie

Martin, Keila

Matthews, Melanie

McCarten, Rachel

MacDonald, Sarah

McDonnell, Cheyney

McGrath, Shane

McKinley, Matt

McLean, Lucy

McMillan, Larissa

Michels, Jessica

Michelsen, Emma

Middelbeek, Kendyl

Minty, William

Mitchell, Hannah

Moore, Helen

Morgan, Joshua

Muggeridge, Ra

Nelson, Joseph

Ng, Pitchin

Ngan, Tiffany

Nicolson, Charles

Nishioka, Mizuho

O’Keefe, Charlotte

Oldfi eld, Christina

Parbhu, Girish

Pardey, Jenna

Parra-Sierra, Natalie

Parson, Tom

Paterson , Claire

Patterson, Alistair

Payne, Michael

Payne, Richard

Payne, Thomas

Pena Villarreal, Carolina

Pepper, Rochelle

Pester, Michael

Petley, Courtney

Pratten, Melanie

Pyle, Amy

Rait, Rebecca

Richards, Samantha

Robinson, Marg

Rouse, Samantha

Russell, Lauren

Schicker, Stephanie

Schwass, Casey

191

103

174

103

192

19

37

129

55

19

84

130

104

159

144

45

193

56

145

174

20

131

175

146

194

132

104

132

105

176

85

21

21

116

22

159

105

22

160

133

106

146

74

75

147

160

176

161

117

106

169

161

133

107

23

23

36

147

56

145

107

108

57

24

199

Scogings, Grant

Scrymgeour, Samantha

Seaman, David

Searle, Tim

Seatter, Ruth

Sharpe, Harriet

Shelton, Rosie

Sherlock, Jessica

Sisson, Amy

Skinner, Alice

Slattery, Nicole

Southen, Georgina

Steele, Elizabeth

Steele, Vance

Su, Michelle

Sy, Carla

Tan, Defang (Kelly)

Taylor, Bridget

Temple-Camp, Victoria

Teoh, AnnNa

Thompson, Alastair

Thomson-Baker, Khamara

Tian, Shaun

Ting, Liz

Titheridge, Johnathon

To, Kenneth

Trigger, Michelle

Tuhi, Ranga

Ulutupu, Christopher

van Ameringen, Briar

van Beek, Courtney

van der Poel, Kristin

van der Voorn, Nina

van Luijk, Amy

van Staden, Megan

van der Meent, Simoen

Vercoe, Samara

Virtue, Zoe

Walker, Rachel

Wall, Sarah

Wallace, Robert

Wallis, Samantha

Walterfang, Laurenz

Walters, Amie

Warren, Alastair

Whyte, Juliet

White, Miriam

Whiting, Aimee

Whitlow, Ana

Wilcox, Jane

Williamson, Graham

Wilson, Danny

Wilson, Erica

Wilson, Laura

Witten Sage, Georgia

Yanagisawa, Junko

Yang, Vicky

Yates, Amanda

Yeung, Carla

Young, Aliscia

Zhong, Meilin

Zilberberg, Maya

162

57

24

134

108

25

25

134

135

136

177

26

26

27

87

177

58

59

27

162

169

109

86

28

144

87

75

109

62

178

110

148

136

38

178

37

29

110

117

38

111

148

46

59

46

47

29

47

149

149

88

163

179

179

180

181

89

195

39

137

111

39

200

0800 MASSEYhttp://creative.massey.ac.nz

email: [email protected]

exposure 2008

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