
Shaun Waugh, Icon Red, 2020. Courtesy of the artist and Two Rooms.
Photo Credit
Shaun Waugh, Icon Red, 2020. Courtesy of the artist and Two Rooms.
Photo Credit
Two Rooms presents Cracker, a summer show featuring new releases by four of Aotearoa New Zealand’s leading contemporary photographic artists – Greta Anderson, Conor Clarke, Ann Shelton and Shaun Waugh.
In informal English, the term ‘cracker’ refers to something exquisitely attractive, likeable or admirable. The generous contents of Cracker share a focus on the evocative and associative potential of colour, alongside a conscious foregrounding of photography as a subject. One might also think of the explosive nature of firecrackers, or even those who can crack a code. In this exhibition, everyday objects and situations, natural forms and geometries, are transformed through various lens-based media into loaded visual encounters. Anderson, Clarke, Shelton and Waugh deploy photography’s capacity for visual and conceptual abstraction in diverse ways – a ‘making strange’ – with one not always sure what one is looking at. Here, photography’s ability to render and describe is complicated by its contrasting ability to stage and fabricate – evoking memory, fiction and imagination.
Two Rooms presents Cracker, a summer show featuring new releases by four of Aotearoa New Zealand’s leading contemporary photographic artists – Greta Anderson, Conor Clarke, Ann Shelton and Shaun Waugh.
In informal English, the term ‘cracker’ refers to something exquisitely attractive, likeable or admirable. The generous contents of Cracker share a focus on the evocative and associative potential of colour, alongside a conscious foregrounding of photography as a subject. One might also think of the explosive nature of firecrackers, or even those who can crack a code. In this exhibition, everyday objects and situations, natural forms and geometries, are transformed through various lens-based media into loaded visual encounters. Anderson, Clarke, Shelton and Waugh deploy photography’s capacity for visual and conceptual abstraction in diverse ways – a ‘making strange’ – with one not always sure what one is looking at. Here, photography’s ability to render and describe is complicated by its contrasting ability to stage and fabricate – evoking memory, fiction and imagination.