Q1: This book’s handsome predecessor was published in 2022 to rave reviews. How long did it take before you felt you wanted to make a new version?
Almost immediately. Once Rooms was published I was contacted by people who were inspired by the content of the book and were curious to know if I was planning a second volume and who said they would be happy to facilitate introductions to allow me entry into houses that had not been on my radar before. This was an exciting prospect as I had loved the voyage of discovery, which is really the blueprint for the book even though photography is an important element of the project. Being given access to remarkable homes with extraordinary and varied collections, and having an excuse to collaborate again with Nicola Legat, my publisher at Massey University Press, meant that Rooms Volume Two was being seriously discussed at a very early stage.
Q2: Did you take a different approach this time?
I was very happy with the first volume but I also wanted to expand on the idea of isolating and photographing some of the collections that I discovered, because as I progressed with the photography for the new book it became evident that the majority of houses I was invited into belonged to collectors. Often these treasures had been amassed over decades and they often became the subject or a wonderful addition to the images I was creating. The stories and information we absorbed through the process was priceless addition to the book. Like its predecessor, there’s a wealth of fantastically detailed information about each image at the back of the book.
Q3: But there also must have been many elements and factors that were the same?
The common denominator was that each space is unique and has been created by individuals with a passion for curating an environment that doesn’t reflect current trends but instead reflects their individual passions.
Q4: How challenging was the process of finding the homes this time round?
The challenge was editing the number of possibilities that were on offer as opposed to searching out potential opportunities. We were very kindly given contacts and introductions to so many fantastic houses and, without exception, each of these delivered more images than I could have optimistically hoped for. I took many lessons from my first book, and one was to allow time to absorb the potential that the rooms offered for the sort of image that I wanted to craft. Very rarely was I in a home for less than a few hours and that not only gave me the opportunity to find the spaces that interested me but also allowed the home owners to introduce me to hidden gems that they thought might be an interesting addition to the photograph.
Q5: The text of this book refers to your collaborations with home owners. How does that typically work?
Conversations with owners allowed me to expand on the image I initially thought would work. So many of these houses belong to creative people and one of the advantages of working with a digital camera is that it allows people to observe the image as it’s being crafted. In many instances this meant that very talented individuals collaborated with me, suggesting additions or variations, or introducing me to other treasures that added immeasurably to the image.
Q6: It must be such a challenge, arriving at a house you have never been in before and deciding how you will create your portraits of what you see. What are some of the key steps you take?
I take my time to get a sense of what my surroundings have to offer. Before I set up my tripod and commit to an image I find a space that has all the components that I feel will create a satisfying image. I always find some sort of framing device and because I only use available light I will try to find something unexpected to add to the atmosphere I’m creating. This is so intuitive that I can’t really describe my process but when all the pieces make sense to me I know that I have an image that I will be happy with.
Q7: These are homes with so much art and so many special objects. Do you find that you learn a lot about them as you go?
I thought that I had a reasonable knowledge of New Zealand art, sculpture and ceramics but this book has been the most wonderful learning experience. It has given me the opportunity to spend time with avid collectors, who not only introduced me to artists and collections that I was unfamiliar with, but were also very generous and delighted to share their knowledge.
Q8: And it’s not all about material wealth, is it?
No, in fact, just the opposite. Many of the interiors that I found very satisfying were created over many years of careful scouring flea markets or discovering items that the general population didn’t find any value in. They are a treasure trove of creative genius.
Q9: There is some sort of ‘secret sauce’ in play here. Can you put your finger on what it is?
Yes. Predominantly these images reflect the owners’ keen interest in design, colour and, perhaps most importantly, a desire to collect, curate and display their collections in ways that make these interiors individually exciting.
Q10: What strengths does the essay by Douglas Lloyd Jenkins bring to the book?
I was so lucky to have John Walsh write the essay for the first Rooms book. He is such a great architecture writer and I found his insights into my practice so interesting. It can be uncomfortable to be the subject of such intelligent scrutiny but I was delighted by what he wrote and by what he saw in my images. Douglas and I had started talking about a different sort of book some years earlier, but then life intervened and we parked it. He is such a design expert and he has lived in a series of amazing houses filled with objects that his collector’s instincts lead him to. I knew that he was restoring a large country house and I was hoping desperately that he would let us photograph it and then that he would also say yes to joining the team for this book. His essay is so instructive — it puts what people are doing in these rooms into historical perspective. Not everyone can draw a convincing design line from Oscar Wilde to Aotearoa, but Douglas can!
