Mary Macpherson

The photographs of Mary Macpherson – with a dash of poetry


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Medical Daydreams

‘Medical Daydreams’ my hand stitched artist’s book about interior worlds. Includes one of my poems (pub Landfall). Twenty copies are available from my website.

My other publications include:

Bent, a limited edition book, which is available on my website

Old New World (pub Lopdell House Gallery), available from Rim Books, Photospace Gallery or independent bookstores.

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Interview with Bryan Schutmaat on the Spinoff

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I was thrilled to have the opportunity to interview the wonderful Texas photographer Bryan Schutmaat for the Spinoff

Bryan is one of the international speakers at Photobook New Zealand and is presenting at Soundings Theatre, Te Papa, Wellington on Saturday 10 March.

Bryan Schutmaat, Gunsmoke, from Grays the Mountain Sends.

Written by Mary Macpherson

27/02/2018 at 9:39 pm

Posted in Uncategorized

Book for Auckland show

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Thrilled to be working with designer Katrina Duncan on a small book for my upcoming show at the Pah Homestead, TSB Wallace Arts Trust – The Long View – Auckland photographs 2014 -2017.


Written by Mary Macpherson

05/02/2018 at 10:19 am

First print for show

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Exciting times to collect my first large scale print from the lab for my Auckland show next year – The Long View: Auckland photographs 2014 – 2017.

The Long View photographic print

From ‘The Long View. Auckland photographs 2014 – 2017)’.  (Image copyright Mary Macpherson)

Thanks Sarah at Big Picture!

Written by Mary Macpherson

20/12/2017 at 8:16 pm

Posted in Photography

Bird Anthology poem

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I’m kind of chuffed to have my poem At Moeraki featured in this handsome anthology of New Zealand writing about birds, just out from the Vintage imprint of Penguin Random House (ed Elisabeth Easther).

Bird words anthology

Written by Mary Macpherson

27/09/2017 at 7:39 pm

Posted in Books, Poetry

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Bent images showing at Photospace

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One of the images from Bent currently showing at Photospace gallery, Wellington

Norfolk Pine shadow, Foxton, New Zealand

Written by Mary Macpherson

13/08/2017 at 1:40 pm

Posted in Books, Photography

The second cousin in the dance – Teju Cole’s Blindspot

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Pairing writing with photographic images is a delicate act. It’s like putting clearly defined meaning up against a medium that speaks another language, and through the pairing suggesting what’s meant to be thought about an image.

The extremes range from a photojournalistic or gallery approach, which sees every image captioned, plus explanatory text, least you foolishly miss the subject’s point of view or what an image is meant to be illustrating.

At the other end of the scale  is the typical Mack photobook where you’re lucky to find the title and the photographer of the work. Any text is usually an oasis on the last page where a few acknowledgements, or line about when or where the work was done, may be offered. That’s when the photographs do the heavy lifting of conveying vision and meaning. Clues and interpretation come from online commentaries, interviews and reviews, but even with this information, meaning is conveyed visually – a kind of pre-language state of paying attention.

In between these extremes, there are essays at the front or back of books – to be ignored or read afterwards – notes to the photographs (think Alec Soth) or captions that pinpoint some critical element that shifts the frame around an image. At the recent William Eggleston Portraits show (see my recent post) I was struck the curator’s pleasure at persuading the photographer to name the subjects or tell the backstory to iconic images that had previously soared in their own mysteries. While the information was interesting, I was glad I’d first experienced the images in my imagination and could love them for their own account. I was interested when, in my project Bent, I captioned the works with the names of trees and added notes at the back of the book about human manipulation of the tree landscape, something about our ruthless cultivation of natural resources popped into focus. The subtle presence of words felt necessary.

Teju Cole’s Blindspot is a true hybrid of text and photographs.(Cole credits the text and photograph pairings from John Szarkowski’s book on Atget as inspiration). Cole’s photographs from his much traveled existence are paired with short meditative texts. Although the pairing is titled with the name of the place, presumably where the image was made, the texts often don’t relate specifically to the image, or stage a tangential take off from a detail. Cole is a master of poetic and philosophic thinking and the pieces are mini gem-like essays that seem at one with his latest book of essays Known and Strange Things. They also form a line back to Open City where his narrator Julius wanders the New York and gives us his insights into a broad range of subjects.

A sequence from Blindspot

Notably, the photographs are not whole views of any part of the world. Rather they’re extractions of sidewalk, construction and building details, featuring juxtaposition and careful composition, along with windows, screens and tarps, which seem to point to illusion, or the fractured nature of our perception. In their fragmentary state it’s easy to see the images as adjuncts to the accompanying thoughts, in the way a whole landscape or person might not be. In a recent interview on the Magic Hour , Cole says he wanted the photographs to be the quieter partner in the text/image pairing, and he’s achieved that.

While Blindspot is interesting reading, the photographs suffer in the dance between text and image. The texts come first on the left hand page, images on the right. In his Magic Hour interview Cole says he wanted to suggest there was more to the photograph than you’ll see by viewing. Even with tangential texts and little direct commentary on the image, I found it hard to respond to these quite cerebral images that were clearly second cousins to the main event, intent on taking you somewhere you were sure to miss if you’d been allowed your own thoughts about the image.

The texts,however, are often quite wonderful – you can read them for their sequences or as references to the blindspots in our reading of the world, or dip in and out of the book, enjoying the morsels. What I couldn’t do was look at the photographs and enjoy them, their language having been set straight by words.

Listen to Teju Cole on The Magic Hour


Written by Mary Macpherson

05/08/2017 at 3:43 pm

Going back to White Thread

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I’ve been going to back to my film work from the 1990s and getting scans of the negatives (thanks Sam from Goodsheet). The White Thread series explored things people could fear or desire, using the medium of white clothes and text. Like most of my work from that era it involved me staging scenarios and then photographing them.

White Thread

Humour, from the White Thread series, 1994.  (Image, copyright Mary Macpherson)

Written by Mary Macpherson

20/06/2017 at 9:22 pm

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