Monday, July 23, 2012

Walking with a Camera - #eqnz Christchurch

You'd think, after almost two years of earthquake mayhem, that I'd be sick of photographing ruins by now. And some days I do reach saturation point. But then I think I might be missing something - some new demolition, a new set of foundations, some crazy sign or juxtaposition that makes me smile - and off I go again. Here's a few of the latest.
Two young Army lads guarding the entrance to the Square - Christchurch Cathedral in the background, blatant advertising in the foreground.
Empty land for sale. There's a bit of it around if you're interested. Now-vacant lots punctuating the inner city streets, waiting for something new. And we here in Christchurch, busily forgetting what used to be there.
New Regent Street - largely undamaged but looking very sad and forlorn. A few tumbleweeds 'tumbling' would complete the picture nicely.
I wish I'd made a point of photographing wayward supermarket trolleys since the earthquakes first struck. They really turn up in the most unexpected places.
The comic #eqnz trio - See no evil, hear no evil, speak no evil.
Enough said.
The relentless empyting of inner city highrise, ready for the next stage of demolition.
Another shambolic corner, another building ready to fall.
And NewstalkZB ready for implosion on July 28.
That should be an interesting sight. But we won't be able to get close of course.
They're shutting off several blocks around its perimeter.
Probably wise.
We wouldn't want anything to fall on anyone.

Wednesday, June 27, 2012

Why Is This Real and Not That?

I am philosophically opposed to the idea of a static life.
I like change and all the unpredictability and uncertainty that comes with it.
But some days in post-earthquake Christchurch - when your future seems to be at the mercy of politicians and bureaucrats - I find my myself momentarily yearning for the old, pre-quake simplicities.


But then I see a sports car in front of a demolition site, a rubbish skip in front of our glossy  art gallery, or dozens of men in orange jackets standing around in awe, as a huge demolition crane is marched into place. Then I pick up my camera again and I roam the central city, or some sad, derelict, residential zone in the east, once again celebrating and cataloguing the unexpected. For me, it's a way of making sense of visual confusion, of the ghosts of buildings gone, of the family histories torn assunder. It's a way of adjusting to an unpredictable way of living that is likely to be permanent now, in my life time.
But for every frustration, every incovenience, there is a moment of amusement - a pink bear acting as some kind of mascot at a military cordon base for instance
- or a shiver of unease in the presence of a twisted mannequin seemingly 'ready to run' from the destruction but caught in a time warp.

Or a wry moment when you spot a juxtaposition that triggers a dozen other bewildering lateral thoughts - like the irony of our 'salvation' arriving in the form of a mechanical roller and  an army of demolition machines.

Or the unexpected collision of verticals in shadows and cranes cavorting across the ever-decreasing cityscape
The upside-down restaurant
and the creepy, cavernous building basements, hollowed out and filled with murky, stagnant water
I find a strange beauty in the raw, exposed concrete - in that whole haunting, shut-down side of a city in distress. I am both annoyed and visually excited by the fences, the barbed wire, the cordons, the signage. I respond time and again to the almost war-like quality of the ruins. It's as if I'm photographing some strange, other place that I remember from images of eastern  Europe. It's as if photographing will somehow bridge the gap between this new reality and the memory of the prettier, easier city that lives in my head.
I have moments of wry laughter - this for instance: the secretive, box-like form of new strip club, Calendar Girls, opened just before the earthquakes, amid a stretch of quaint historic buildings. There were mumbllings of classic, conservative, Cantabrian outrage at the time. Now it is the only thing left standing in the block. I can't help thinking that it's a comical metaphor for something I haven't yet pinpointed.
I like that, in times of crisis and inconvenience, art has been forced out into the community - always a better place for it anyway, I've always thought. Now we see works amid the ruins - the emphasis being on the word SEE (for those in the community who never set foot inside art galleries). Kay Rossen's work on the east wall of the Christchurch Art Gallery is one of my favourites currently - but I prefer it glimpsed through the veil of demolition. I like the cheekiness of a giant E peeping out through cranes and diggers. It makes me think much more carefully about both the work itself and the messy, unpredictable context of its being.

And then there are the night time visits to central city.
That time, just after dusk, when workmen have gone and an eerie, bleak silence envelops the ruptured cityscape. I delayed going into the city at night for many, many months. I didn't want to tempt fate. As much as I like an adventure, I didn't want to risk being caught in there in the dark, during a large after-shock.
But now, almost two years after that first beastly earthquake on September 4, 2010, I find myself drawn back there at night. Being there, in the velvety silence, pushes my creative buttons. It makes me think about history, about the people who have gone before. It somehow intensifies the disappointments of the present and the possibilities of the future. It focues me in the single moment.
And then I look up and see the futuristic form of the Christchurch Casino etched against a black, forbidding night sky and it might as well be that aliens have landed.

And why is this real and not that?

Monday, May 14, 2012

One Morning in Avonside


Where the gardens are wild and wilful



Where the grass is long and the  patience short



Where the mail is uncollected and the front doors overgrown




Where Nature has grabbed back supremacy
At least until the bulldozers arrive.


Sunday, April 29, 2012

Thanks for the Memories - Red Zone Gardens


Gardens gone but not forgotten


Clothesline, rotating aimlessly on a blank section - all that's left


Weeds reclaiming a driveway


Wisteria and weeds consuming the front gate


An abandoned front lawn - one of thousands


Signing off - one family's farewell to their riverside house

Monday, April 23, 2012

House and Garden

When I drove over to Bexley early on Saturday morning to check out the state of this suburban Red Zone area, I couldn't help thinking of the irony of the situation. When I'm checking out houses and gardens usually, I'm picking my way around some refined architectural interior and wandering  meticulously manicured gardens - all the better to photograph for magazines etc.
You don't find much of that sort of thing on the east side of Christchurch.
Certainly not in Bexley - and definitely not since the earthquakes.
What you get here, in the aftermath of bureaucratic decision-making, is a deserted, forlorn suburb with the guts kicked out of it. Broken roads, houses askew, water from leaking and broken pipes boarded-up windows - or windows wrenched off their hinges and curtains billowing out inton the elements.
There are a few plaintive signs - We Are Home, At Home, Still Living Here, Yes, We Are Here - but you go a long way before you actually *see* any residents.
Amost-new homes sit buried to their kneecaps in now-solid liquefaction, awaiting the demolition machinery that will wipe much of this suburb off the face of the earth.
There are grubby piles of rubbish piled outside doorways and gateways.
A rotting sofa that no one wanted, now overgrown with long grass.

And mucky, blank sections now dot the suburb where the demolition has already occurred.
Most have been reduced to dug-over turf but some, like the one above, still retain some lingering evidence of human occupation. It's as if the guy in charge of the demolition couldn't bring himself to touch this old fruit tree in the middle of the section, with its ladder and remains of a treehouse.
I hope it stays - just as it is.
A poignant reminder.
I find it hard to stand in front of these 'blank canvases' and not think of the family histories that have played out on these now-barren scraps of land.
Who lived there?
Who grew up in the garden?
How did they mark their favourite garden places?
What secrets and dreams unfolded here?
On Sunday morning - just as early - I drove a few blocks away to Locksley Avenue.
I've featured the Locksley Ave houses here before but I like to retrace my steps, to record the continuing disintegration, the demoltion and the general dishevelment of these once bustling domestic environments.
It's odd to come back.
The plants have grown significantly.
Some gardens are barely recogniseable as such, as unchecked vines and unpruned roses stride across the lawns, over trees and fences, twining themselves through piles of broken architecture.
In some cases front lawns have vanished under escaping garden foliage. 
But the hardy endure - the pink naked ladies, the dahlias, the marigiolds, the pansies - they're all still pushing themselves forward, up through the forest of greenery, trying to stake their claim to the land.
The hydrangeas elbow their way across doorways and jasmine and honeysuckle have grown rampant.
Many lawns have reverted to 'pasture,' with tall seedheads tickling at windowsills
Driveways and pathways are humped and hollowed.
Weeds have greedily consumed cracks.
Empty clothes lines creak in the breeze.
Nothing says 'home' quite like the clothes line.
It's disconcerting to see once-busy backyards empty of life, of activity, of laughter, of games, of family madness and mayhem.
Walking abandoned Red Zone streets like these is an eye-opener.
For me they are the grass-roots evidence of the earthquakes - the places that bring home the true cost to the people of Christchurch. It's easy to feel sad about the inner city destruction and the demolition of heritage - it's all on such a grand, unmissable scale, it's where the media cameras focus.
But walking through the broken eastern suburbs, you see the real cost at a domestic level.
You can read the stories in the media but it's not until you set out on foot and see these sad, abandoned homes that you truly appreciate why so many Cantabrians feel so disenfranchised.
What saddens me most, is that so few people - even in Christchurch itself - actually make the effort to do it.

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