Kohuwai (Her beautiful green hair) from the series Three Signs
Inkjet print (2021) from original colour negative (2015)
1100 x 1100 mm
Courtesy of the artist and Two Rooms, Tāmaki Makaurau Auckland
Estimate: NZD 7,000 — 11,000
In Kohuwai (Her beautiful green hair), Joyce Campbell’s lens surrenders itself to the life of river currents and allows light to paint itself onto the negative through a fog of waterweed. As well as an ecological study, Campbell’s rich photograph Kohuwai (Her beautiful green hair) slows us down. It is a celebration of light, and a pursuit of what spirit may have been lost in the dark.
Campbell’s research based practice pays attention to the sensitivities, nuances, connections and collisions of natural and cultural systems. She is renowned for her masterful use of anachronistic time-based photographic techniques, where exposures can take several minutes or even hours. Campbell’s photographs are stark reminders of the potential of photography to resist the global techno-capitalist hegemony that underpins the collapse of biodiversity and the decline of spirit in our contemporary era.
Artist Biography & History
with Artspace Aotearoa:
Dirty Pixels (group), 12 August — 14 September 2002, subsequently toured to Adam Art Gallery, Dunedin Public Art Gallery and Waikato Museum of Art and History, curated by Stella Brennan
Terminal (solo), 1995
Screen, The Letting Space Project (solo), 1995
Gaining Interest (group), 1993
Light Sensitive (group), 1992
Joyce Campbell was included in Dirty Pixels, a catalogue published on the occasion of an exhibition of the same name, curated by Stella Brennan and exhibited at Artspace from 12 August to 14 September 2002. Dirty Pixels was designed by Jo Clements, and includes texts by Stella Brennan and Chris Barker.
Joyce Campbell (b. Aotearoa New Zealand) is an interdisciplinary artist based in Auckland, Aotearoa New Zealand. She has a BFA from the School of Fine Arts, University of Canterbury (1992), a MFA (1999) and a PhD (2021) from Elam School of Fine Arts, University of Auckland. She has lived, taught, and worked in Southern California and in Tāmaki Makaurau Auckland, and has undertaken residencies in Aotearoa New Zealand (2001) and Antarctica (2006). Her recent work utilizes anachronistic photographic techniques, such as the daguerreotype and ambrotype, as well as conventional analogue and digital photography, video, film, and sculpture to examine the collision of natural and cultural systems.
Campbell has participated in numerous exhibitions both in Aotearoa New Zealand and abroad, including The Future is already here- it’s just not evenly distributed: The 20th Biennale of Sydney, Cockatoo Island & Gallery of New South Wales, Land of the Gadigal peoples of the Eora Nation Sydney, Australia (2016), Heavenly Bodies, Santa Barbara Museum of Art (2014), Che Mondo: What a World, curated by Carole Ann Klonarides, Los Angeles Municipal Art Gallery, Los Angeles, USA (2013), Te Taniwha/Crown Coach, Nichols Gallery, Pitzer College, Claremont, CA September (2012), The Liquid Archive, curated by Geraldine Barlow, Monash University Museum of Art, Land of the Wurundjeri and the Boonwurrung peoples of the Kulin Nation Melbourne, Australia (2012), Altogether Elsewhere, curated by Rob Tufnell for the Zoo Art Fair, London, Great Britain (2009), and every day: The 11th Biennale of Sydney, Land of the Gadigal peoples of the Eora Nation Sydney, Australia (1998). In 2016, she was nominated for the Walters Prize for Flightdream, exhibited at Two Rooms, Tāmaki Makaurau Auckland (2015).
In 2019 the major survey exhibition On The Last Afternoon: Disrupted Ecologies and the work of Joyce Campbell curated by John Welchman opened at The Adam Art Gallery Te Pātaka Toi in Te Whanganui-a-Tara Wellington. Since 2010, Campbell has produced bodies of work in collaboration with Richard Niania (Ngai Kohatu) that consider the mythology, history and ecology of Te Reinga and the Ruakituri Valley west of Wairoa.