No Man is an Island
No Man is an Island draws from Jock Phillips and Matthew Basso's writing on colonial masculinity, reimagining the "man alone" myth as performance. The series opens with its hero image: shot on a long exposure in studio, the same man stands with a red flower in his lapel as loose blooms drift and blur around him, printed large at 30x24 inches.
From there, a set of 35mm stills follows him to Wellington's rugged west coast, carrying a suitcase of bold colourful materials that act as a metaphor for both what he represses and what he might release. He drags the case into the sea meaning to drown the case and with it, the parts of him that don't fit the mould of the ideal antipodean colonial male, but as it spills open, he gathers the items back to himself and carries them to shore instead.
Throughout the series, he doesn't meets the viewer's gaze until that final moment in the water, and with the case gone and the material in his hands, the retrieval of the case's contents becomes a story about his acceptance of self and self-expression. The intention was the leave the viewer with the question: if men had always been allowed to exist in a less constrained space, what might masculinity look like now in New Zealand? Exhibited in The Final Fix, 2025.
Shot on 35mm film at Makara, Wellington, ft. John.
Shot on 35mm film at Makara, Wellington, ft. John.
Shot on 35mm film at Makara, Wellington, ft. John.
Shot on 35mm film at Makara, Wellington, ft. John.
Shot on 35mm film at Makara, Wellington, ft. John.
Shot on 35mm film at Makara, Wellington, ft. John.
The Final Fix, 2025
The Final Fix, 2025
The Final Fix, 2025
The Final Fix, 2025
The Final Fix, 2025
Queen of Maximalism
Part of a wider series, these shots drew inspiration from high-gloss print media and advertising and the role they play in capitalism and consumption. This series explored the idea of excess and hiding selfhood behind mass consumption. In the series, the model wears a blonde wig and large glasses so we never really know what she truly looks like, all while consuming vast amounts of luxury goods.
Outfits supplied by Paper Bag Princess
Emily, Wellington, 2024. Clothing supplied by Paper Bag Princess.
Emily, Wellington, 2024. Clothing supplied by Paper Bag Princess.
Emily, Wellington, 2024. Clothing supplied by Paper Bag Princess.
Emily, Wellington, 2024. Clothing supplied by Paper Bag Princess.
Surface Tension
A small, journal-like photobook created in dedication to Pōneke’s female surf community. A small run version of this book was printed in July 2025 with plans to run a larger scale print soon.
Wellington Gurfers members featured in Surface Tension, 2025
Wellington Gurfers members featured in Surface Tension, 2025
Wellington Gurfers members featured in Surface Tension, 2025
Wellington Gurfers members featured in Surface Tension, 2025
Wellington Gurfers members featured in Surface Tension, 2025
Wellington Gurfers members featured in Surface Tension, 2025
Wellington Gurfers member, Chloe, featured in Surface Tension, 2025
Wellington Gurfers members featured in Surface Tension, 2025
Wellington Gurfers member, Anna, featured in Surface Tension, 2025
Wellington Gurfers member, Adriana, featured in Surface Tension, 2025
Wellington Gurfers member, Olivia, featured in Surface Tension, 2025
Wellington Gurfers members featured in Surface Tension, 2025
The Fruit of Her
Influenced by commercial print media, The Fruit of Her explores how the media shapes our sense of self. A homage to the physical realities of childbirth and childrearing. I wanted the images to break away from traditional maternity culture which can put pressure on mums to fit into certain stereotypes, instead presenting something more playful The fruit serves as a symbolic representation of each model’s personal experience of motherhood.
The Fruit of Her, 2024
The Fruit of Her, 2024
The Fruit of Her, 2024
The Fruit of Her, 2024
The Fruit of Her, 2024
The Fruit of Her, 2024
Monochroma
Traditional male portrait photography is often denoted by very specific lighting, camera angles and poses. Shot in 2024, I wanted to explore these same lighting techniques and poses in a hyper-feminine setting, creating a series of feminine but unapologetically powerful portraits.
Emily in "Monochroma," 2025
Emily in "Monochroma," 2025
Emily in "Monochroma," 2025
Emily in "Monochroma," 2025
Emily in "Monochroma," 2025
Emily in "Monochroma," 2025
