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Lily Worrall

Title: The Corner
Year: 2017
Length: 06:42
Format: Documentation of installation
“A house constitutes a body of images that give mankind proofs or illusions of stability.”— Bachelard, Gaston & John R. Stilgoe. The Poetics of Space. Beacon Press, 1994.
The corner grounds itself on the plane of the fragile. It is a project that sits within the interstice, and within this frame of solidity, we see the negative space of solitude; the home, the family, the corner.
The house in this presentation acts as a frame that both envelops and projects. These projected images permeate from within the home. In doing so, they inhabit and acknowledge a sense of ‘presence’. Tentative in their pursuits, the hand-held movements of the camera allude to the maker of the images, and their fragmented and cropped nature intensify the actions within the frame. By capturing a sense of voyeurism and imagined senses, these ‘home videos’ elicit both forms of experience for the viewer and the editor. 
The ‘close-up’ gives a sense of integrity to an image of an action. To find a way of encapsulating stillness in action was a push towards angling the camera down towards the feet, to hide the figure but confess its intimacies within anonymity. I have acted as a mobile figure within an immobile space, taking cues from the traversal entity of the flâneur; regarding my imposed limitations within the home.
This body of work reflects that space within the corner, and my proximity with these figures and movements slowly drifts onto the suburban street; noticeable to those who are open to see within this liminality. The use of familial images and experiences prompts me to reflect on the self, whilst speaking to the fragmentation of the familial archive. It has become a way of forming this ‘self’ within and around the home; through presenting and concealing isolated forms of my parents, and to explore the practice of investigating personal and intimate surroundings and how they can permeate into the immediate exterior of a commonly revered solidified structure. 


Thematic tags: documentary, feminism, photography, fine art

Title: Trip
Year: 2015
Length: 12:04
Format: Video
“Just as in life, one can only really see and hear when one is in a state of availability.” (T. Minh-ha 215).

The interlude, the in-between, and the interstitial spaces in films are traditionally shot by a second unit. I seek to inhabit the role of the second-hand filmmaker, disconnected from the clear narrative of the classical form of filmmaking. I act as a Flâneuse, my camera the wandering eye of my observations. Through investigating these preliminary practices, this work acts as an on-going project that questions ways of organising connections; collecting and montaging images for future thoughts and reflection. In this way the work performs like a photo album. A curated composition that aims  to revel in the isolation and fragmentation of familial memories and the family unit. Although curated images may insight a degree of disconnect between family members, they also create a sense of alienation when viewed by a stranger. The stranger must then look in a state of availability, with the responsibility and challenge to form their own narrative, potentially over many sittings. 

“As that claustrophobic unit, the nuclear family, was being carved out of a much larger family aggregate, photography came along to memorialize, to restate symbolically, the imperiled continuity and vanishing extendedness of family life.” (Sontag 9). Working with family comes as an intrinsic type of collaboration. Documenting family experience is regularly perceived through the parents eyes, and becomes the child’s responsibility as the family comes to a point of separation. The “claustrophobic unit” performs within a structure that includes several subjectivities. Through my organisation of captured moments, editing with footage and photographs taken by different members of the family, the images become realised and coherent to us as relatives, despite its stagnated structure and resistance to convenient narrative hooks.

To those that are not privy to the omitted experiences, the film creates a place for projected memories. The uncertainty of duration or erratic changes in focus call for the audience to develop their own narratives and way to work around the images. Its position is to thrive on fragile ground. The awkward nature of interspersed static material and long traveling shots invite reflection and discomfort.  

Title: Cafe Undone
Year: 2014
Length: 10:18
Format: HD video

Lily Worrall is an Auckland based artist, who has recently completed her BFA at Elam School of Fine Arts with first class Honours, and a BA in Film theory at the University of Auckland. She is a structuralist filmmaker, whose practice integrates familial archives, digital materiality, found  materials and feminist film theory. 

Worrall’s practice intuitively leans towards capturing the uncanny. Her videos encompass her relationship to family life which meld cinematic narratives to the personal.

https://lilygracemercedes.wixsite.com


Becky Nunes

Title: This Air is a Material
Year: 2017
Length: 52:43
Format: HD video
Credits: Director/Producer: Becky Nunes
Ann Shelton left her hometown of Timaru in the 80’s on a mission. Her seminal project Redeye captured the zeitgeist of Auckland, New Zealand in the 90’s, and catapulted her to public notoriety. Ann has made many rich and complex bodies of work that unearth local mythologies, “ghosted” stories and characters and narratives previously written out of history. This Air is a Material deepens the understanding of this important artist & her work. With interviews, high quality footage of Ann’s artwork and archival imagery, the documentary not only illuminates her practice but also the small towns, urban myths and creative communities that shaped it. Artists, writers and curators speak with passion and insight about Ann’s work and its historical and contemporary contexts. Ann herself provides much of the guiding narration. The film explores the visual themes and motifs of Ann’s work, tracing its origins in the hostory and landscapes of Aotearoa/New Zealand.
Thematic tags: documentary, feminism, photography, fine art

Title: Open Home – a glimpse into Ann Shelton’s House Work.
Year: 2016
Length: 06:00
Format: HD video
Credits: Director/Producer: Becky Nunes
On December 5th and 6th of 2015 groups of curious guests were invited to attend an offsite event as part of Enjoy Gallery’s Enjoy Feminisms exhibition. This event took place in a house designed for Nancy Martin, a musician and educator, by immigrant architect Frederick Ost, in 1957. Artist Ann Shelton and her partner now live in this house, and in House Work Shelton and ghost-writer Pip Adam weave together past and present, archive and fiction. This film is a document of that event.
Thematic tags: performance, documentary, capitalism, politics, feminism, work/labour

Title: Pictures on Paper – The Photobook in New Zealand
Year: 2017
Length: 27:00
Format: HD video
Credits: Director: Becky Nunes & Anita Totha Producer: Becky Nunes. Sound: David Cowlard. Camera: Parisa Taghizadeh & David Cowlard. A Tangent Production
The photo-book has enjoyed a meteoric rise in recent years. Combined with on-demand publishing it now offers photographers unprecedented and unmediated access to audiences for their work. From a bespoke and limited edition artist book to a large print run showcasing the entire body of work of an artist, the photo-book has shifted from background to foreground for the attention of art fairs, libraries and collectors. This short documentary charts some of the key moments in the history of the photo book in Aotearoa/New Zealand. Interviews with early proponents of the form such as photographer/publisher Haru Sameshima and photographer David Cook give context. Harvey Benge talks about his long-term obsession with the photobook format, his own printed works and his extensive collection.Importantly, the film also foregrounds the now; a slice of contemporary bookmaking in the early 21st Century. Solomon Mortimer, David Cook & Ann Shelton are some of the important lens-based artists working in the medium today. This documentary has no claims on any encyclopedic qualities. Rather, it aims to intrigue, inspire and provoke debate around a medium that, in the South Pacific at least, is still in its teenage years. The photo book, like any art form linked intrinsically with technology as its means of production, is on the move. What this film portrays as the “now” of 2015 will be an important archival contribution to our collective imaging history in the turn of a page.
Thematic tags:Documentary, history of New Zealand photography

Becky Nunes is a lens-based artist and educator. Her images have been awarded, published & exhibited locally and internationally. Nunes is a founder member of Tangent Collective. She works at the nexus of fine art and documentary practice, most recently producing and directing the awarded documentary film This Air is a Material. Her primary field of research is the complex arena of site, subject and the co-authoring of representation. Her work articulates, via photographs, moving image and sound, some of the complex narratives of Aotearoa in the era of the Anthropocene.

http://www.facebook.com/sheltonfilm


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