To Watch the Water was a collaborative exhibition by Megan Hopkins and myself held at The Corner Store in Christchurch between the 5th and 15th of September, 2018. The following text is taken from the exhibition catalogue, which was written by Harri

To Watch the Water was a collaborative exhibition by Megan Hopkins and myself held at The Corner Store in Christchurch between the 5th and 15th of September, 2018. The following text is taken from the exhibition catalogue, which was written by Harriet Litten and Bojana Rimbovska.

Throughout history humans have held a desire to explore, interpret and record our environments. From its early iterations, photography has been considered a naturalistic and accurate method of representation; the perfect medium to satiate our humani

Throughout history humans have held a desire to explore, interpret and record our environments. From its early iterations, photography has been considered a naturalistic and accurate method of representation; the perfect medium to satiate our humanistic desire to document the landscape. Exalted as a method able to provide truth of representation, photography has grown as a ‘documentary’ style of artistic representation.

Rather than evidence of the world, photographs such as those presented here, are the sum of the photographer’s interpretation; seeing through the artists eyes in order to share information, ideas and values. Photography is a complex conversation bet

Rather than evidence of the world, photographs such as those presented here, are the sum of the photographer’s interpretation; seeing through the artists eyes in order to share information, ideas and values. Photography is a complex conversation between artist and viewer, not just an image, but a dialogue. Both Megan and Ella’s works in this exhibition embrace the semiological notion that images can be read as texts in and of themselves, enhanced by the presence of written word. Photographs are complex pieces of text, these images of place hold the ability to create, articulate and sustain their own meaning; how do we use, live with and embrace our natural resources? What meaning do these bodies of water have in our lives? How can we learn to live in a symbiotic relationship with water?

Connected by these questions, the photographs explore the artists’ individual associations with place. Oscillating between a highly personal and a more general narrative around the landscape, these images foreground the idea that these bodies of wat

Connected by these questions, the photographs explore the artists’ individual associations with place. Oscillating between a highly personal and a more general narrative around the landscape, these images foreground the idea that these bodies of water, no matter how remote or expansive, have stories attached to them.

In Megan’s images, perspectives on the landscape have largely been framed by her personal connection to Lake Alexandrina. Annual family gatherings around the lake build an intimate attachment to it as it transforms from a sort of backdrop for family routines to something which is more deeply rooted in the family’s history, becoming more imbued with memories with each visit. It articulates the strong associations with nature, and in particular with water, in New Zealand culture. The sweeping panoramic views of Lake Alexandrina against the sky and mountains are punctuated by signs of human occupation – a reminder that when we think about nature we ought to see ourselves as active agents in its construction.

Ella’s images present perhaps a more distanced but nonetheless reflective view on the Waimakariri river. Her experience of the Waimakariri is framed by her interactions with the wider environment – namely the cold air, constant rain and mud that acc

Ella’s images present perhaps a more distanced but nonetheless reflective view on the Waimakariri river. Her experience of the Waimakariri is framed by her interactions with the wider environment – namely the cold air, constant rain and mud that accompany her as she trails the riverbank. The feeling of isolation is contrasted with the companionship evoked by the foot trails made by others that conjures up memories of bush-walking with her dad. The memories that these environmental cues trigger make it impossible to disentangle ourselves from nature or see ourselves as somehow set apart from it. In this way, the idea that we always find our way to the water appears to hold true.

The photographs on show allow us to situate ourselves in relation to these watery landscapes and evoke memories from our own lives. In our mind, the landscape might appear so general as to be able to be substituted for another one; the sight of wate

The photographs on show allow us to situate ourselves in relation to these watery landscapes and evoke memories from our own lives. In our mind, the landscape might appear so general as to be able to be substituted for another one; the sight of water, trees and sky being enough to transport us to a place which holds our own memories. Here, the general and the specific are again blurred as these landscapes begin take on new forms in our minds.

More of Megan Hopkins’ photography can be found on Instagram @meganhopkinsphotography and the exhibition was also featured on the Place in Time website.

More of Megan Hopkins’ photography can be found on Instagram @meganhopkinsphotography and the exhibition was also featured on the Place in Time website.

To Watch the Water was a collaborative exhibition by Megan Hopkins and myself held at The Corner Store in Christchurch between the 5th and 15th of September, 2018. The following text is taken from the exhibition catalogue, which was written by Harri
Throughout history humans have held a desire to explore, interpret and record our environments. From its early iterations, photography has been considered a naturalistic and accurate method of representation; the perfect medium to satiate our humani
Rather than evidence of the world, photographs such as those presented here, are the sum of the photographer’s interpretation; seeing through the artists eyes in order to share information, ideas and values. Photography is a complex conversation bet
Connected by these questions, the photographs explore the artists’ individual associations with place. Oscillating between a highly personal and a more general narrative around the landscape, these images foreground the idea that these bodies of wat
Ella’s images present perhaps a more distanced but nonetheless reflective view on the Waimakariri river. Her experience of the Waimakariri is framed by her interactions with the wider environment – namely the cold air, constant rain and mud that acc
The photographs on show allow us to situate ourselves in relation to these watery landscapes and evoke memories from our own lives. In our mind, the landscape might appear so general as to be able to be substituted for another one; the sight of wate
More of Megan Hopkins’ photography can be found on Instagram @meganhopkinsphotography and the exhibition was also featured on the Place in Time website.

To Watch the Water was a collaborative exhibition by Megan Hopkins and myself held at The Corner Store in Christchurch between the 5th and 15th of September, 2018. The following text is taken from the exhibition catalogue, which was written by Harriet Litten and Bojana Rimbovska.

Throughout history humans have held a desire to explore, interpret and record our environments. From its early iterations, photography has been considered a naturalistic and accurate method of representation; the perfect medium to satiate our humanistic desire to document the landscape. Exalted as a method able to provide truth of representation, photography has grown as a ‘documentary’ style of artistic representation.

Rather than evidence of the world, photographs such as those presented here, are the sum of the photographer’s interpretation; seeing through the artists eyes in order to share information, ideas and values. Photography is a complex conversation between artist and viewer, not just an image, but a dialogue. Both Megan and Ella’s works in this exhibition embrace the semiological notion that images can be read as texts in and of themselves, enhanced by the presence of written word. Photographs are complex pieces of text, these images of place hold the ability to create, articulate and sustain their own meaning; how do we use, live with and embrace our natural resources? What meaning do these bodies of water have in our lives? How can we learn to live in a symbiotic relationship with water?

Connected by these questions, the photographs explore the artists’ individual associations with place. Oscillating between a highly personal and a more general narrative around the landscape, these images foreground the idea that these bodies of water, no matter how remote or expansive, have stories attached to them.

In Megan’s images, perspectives on the landscape have largely been framed by her personal connection to Lake Alexandrina. Annual family gatherings around the lake build an intimate attachment to it as it transforms from a sort of backdrop for family routines to something which is more deeply rooted in the family’s history, becoming more imbued with memories with each visit. It articulates the strong associations with nature, and in particular with water, in New Zealand culture. The sweeping panoramic views of Lake Alexandrina against the sky and mountains are punctuated by signs of human occupation – a reminder that when we think about nature we ought to see ourselves as active agents in its construction.

Ella’s images present perhaps a more distanced but nonetheless reflective view on the Waimakariri river. Her experience of the Waimakariri is framed by her interactions with the wider environment – namely the cold air, constant rain and mud that accompany her as she trails the riverbank. The feeling of isolation is contrasted with the companionship evoked by the foot trails made by others that conjures up memories of bush-walking with her dad. The memories that these environmental cues trigger make it impossible to disentangle ourselves from nature or see ourselves as somehow set apart from it. In this way, the idea that we always find our way to the water appears to hold true.

The photographs on show allow us to situate ourselves in relation to these watery landscapes and evoke memories from our own lives. In our mind, the landscape might appear so general as to be able to be substituted for another one; the sight of water, trees and sky being enough to transport us to a place which holds our own memories. Here, the general and the specific are again blurred as these landscapes begin take on new forms in our minds.

More of Megan Hopkins’ photography can be found on Instagram @meganhopkinsphotography and the exhibition was also featured on the Place in Time website.

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