Mizuho Nishioka

Dr Mizuho Nishioka profile picture

Lecturer in Photography School of Design Innovation


Dr. Nishioka’s (MFA, PhD) research has focused on the development of a critical photographic practice. Her work centres on the technological production of the photographic image, and how through amendment, alteration or disruption of photographic procedures a creative practitioner might retrieve agency in the image making procedure to arrive at new visual territories.

Selected Research Outputs

Nishioka, M. (2016, June 1). Movement 67_N [Photography]. Wellington, New Zealand: Artwork held in public collection. Retrieved from https://wellington-city-council.culturalspot.org/

Nishioka, M. (2017). MachineTime_NatureTime [Photography]. Waikanae, New Zealand: Mahara Gallery.

Nishioka, M. (2016). Machines making pictures in MachineTime_NatureTime. Bartley + Company Art. Retrieved from http://www.bartleyandcompanyart.co.nz/exhibition,Mizuho_Nishioka,292

Nishioka, M. (2016). MachineTime_NatureTime [Photography]. Wellignton, New Zealand: Bartley and Co Gallery, Wellington, New Zealand. Retrieved from http://www.bartleyandcompanyart.co.nz/exhibitions.php?exhibitionID=292

Nishioka, M. (2016). A string of data: disrupting, altering and generating the photographic image. (PhD Thesis). Retrieved from https://www.massey.ac.nz/

Nishioka, M. (2015). Machines making pictures. The Engine Room - Whiti o Rehua School of Art, Massey University, Wellington.. Retrieved from http://theengineroom.org.nz/projects/machine-time_nature-time/

Nishioka, M. (2015). MachineTime_NatureTime [Photography]. The Engine Room, Whiti o Rehua School of Art, Massey University, Wellington. Retrieved from http://theengineroom.org.nz/projects/machine-time_nature-time/

Nishioka, M., & Moleta, T. (2015). Digital Biophilia V02b [Photography, mixed and new media]. Auckland, New Zealand: Jasmax Gallery, Auckland, New Zealand.. Retrieved from https://www.jasmax.com/news/art-in-jasmax-digital-biophilia-v02b/

Nishioka, M., & Moleta, T. (2015). DigitalFields* [Exhibition]. Wellington, New Zealand: Common Ground. Retrieved from http://commongroundfestival.org.nz/portfolio/digital-fields/

Nishioka, M., & Moleta, T. (2013). Digital Biophilia [Photography, new and mixed media]. Wellington, New Zealand: Urban Dream Brokerage Project 10 [Exhibition]. Wellington: Bowen House, Curator by Sophie Jerram. Retrieved from http://urbandreambrokerage.org.nz/new-gallery/

Nishioka, M. (2012). Parts of a picture. The Blue Oyster Project Space. Retrieved from http://www.blueoyster.org.nz/exhibitions/or-the-land-show/

Nishioka, M. (2012). One third of a picture / Point #04 [Photography]. Blue Oyster Art Project Space, Dunedin: Blue Oyster Art Project Space, Dunedin. Retrieved from http://www.blueoyster.org.nz/exhibitions/or-the-land-show/

Nishioka, M. (2012). Uninhabited Space 2 [Photography]. Wellington, New Zealand: Michael Hirschfeld Gallery, City Gallery, Wellington. Retrieved from http://old.citygallery.org.nz/exhibitions/must-be-place-three-photographers

Nishioka, M. (2012). Uninhabited space. In This must be the place: three photographers. Hirschfeld Gallery, City Gallery Wellington. Retrieved from http://old.citygallery.org.nz/exhibitions/must-be-place-three-photographers

Why, L., & Nishioka, M. (n.d.). The Land Show OR We're not getting out of here alive. Blue Oyster 2011, 80.

Nishioka, M., & Moleta, T. (2011, December 7). The effects of resemblance. In D. Maskill, & S. Caylor (Eds.), ART ASSOCIATION OF AUSTRALIA AND NEW ZEALAND 2011 ANNUAL CONFERENCE. Wellington. Retrieved from http://aaanz.info/wp-content/uploads/2011/11/2011AAANZProgramme.pdf