Dr Mizuho Nishioka presents a second exhibition at Venice Biennale and talks critical photographic practice

We sat down with Dr Mizuho Nishioka, a Lecturer in Photography, to hear more about her exhibition of critical photographic practice in Palazzo Mora, Italy, as part of the Venice Biennale.

3 October 2024

Dr Mizuho Nishioka currently teaches SARC 214 Seeing Architecture through Photography / Te Kitenga o te Hoahoa Whare mā te Whakaahua, DSDN 244 Photographics / Ngā Whakaahuatanga, and DSDN 151 Graphic Design and Photography / Hoahoa Whakanikoniko me te Whakaahuatanga. Dr Nishioka also supervises masters students and PhDs exploring the use of photography and creative practice.

What is your current research about?

“My current research focuses on developing a critical photographic practice, examining the intersection of photography and technology.

“I explore how the amendment or disruption of traditional photographic techniques can give creative practitioners new forms of agency and lead to innovative visual territories.

“My work also delves into the relationship between the natural environment and photographic processes, particularly through a project where I allow recording devices to interact with nature to produce unique, high-resolution photographic works.”

What made you interested in pursuing this research?

“I’ve always been intrigued by the boundaries of the photographic image and how we can push these boundaries to reveal new perspectives.

“My interest grew from a desire to challenge the conventional role of technology in photography, seeking ways to bring the natural and creative world together.

“By releasing equipment into natural environments, I’ve found innovative ways to depict these landscapes over time, capturing intricate details that a single moment couldn’t convey. This approach allows me to reflect on the interconnectedness of nature and human intervention.”

Do you work with other researchers?

“Yes, I collaborate with the Wellington-based research group An Architecture of the Sea, which brings together artists, photographers, poets, and architects.

“Together, we experiment with scientific and creative methods to represent marine environments. Our work has been showcased in New Zealand, Thailand, Austria, Spain, and Italy.

“This group’s interdisciplinary approach is crucial in combining scientific inquiry with artistic expression, contributing to our collective understanding of the natural world.

“We are about to start a new phase of research that explores footage and capture from the sea. However, as the weather changes, it has been a bit inaccessible for the past few months.

“I work with senior lecturer Tane Moleta in the School of Architecture, Wayne Barrar who is a photographic-based visual artist and honorary research fellow at Massey University, and Kerry Hines who is a Wellington-based writer and poet.

“I am also developing projects with colleagues from Sonic Art both here at Te Herenga Waka—Victoria University of Wellington and also Massey University.”

How does the Venice Biennale fit into your overarching research focus and aims?

“The Venice Biennale is an important platform for my research.

“In 2024, I will present work at the European Cultural Centre's Pavilion as part of the Personal Structures exhibition. This marks my second appearance, an unusual opportunity after my 2022 exhibition.

“My work, Movement_17; Tasman Sea, is a direct extension of my research into how natural environments can shape photographic output.

“Through my work, I aim to allow the environment itself—specifically the sea—to direct the outcome, free from human intervention, highlighting the complexities of our relationship with nature.”

What has been your latest publication?

“My latest work has been featured in the catalogue of the Personal Structures exhibition at the 2024 Venice Biennale.

“Additionally, my previous exhibition in 2022 was reviewed by Juliette, a leading European fine art publication, and my works are part of the New Zealand Foreign Service's collection at the consulate in Milan.

“I am also working on three publications at the moment. One explores the use of drone and other lens-based technologies to represent site and landscape. Another looks at the use of ‘depth of field’, a photographic method where one can control what parts of the image are out or in focus, to examine simulations on urban design. My third publication blends all of these, as an enquiry into virtual spaces where our younger international female students inhabit.

“I am interested in testing every technology that can capture a record of the landscape and natural environment.”

What are some upcoming research trends that are relevant to your field?

“In my experience, in the creative fields, there is growing interest in how technology expands the boundaries of visual representation.

“Techniques that blend scientific inquiry with artistic practice, particularly in environmental and ecological studies, are becoming more sought by creative institutions such as museums and galleries and festivals.”

“I think exploring how autonomous systems, such as drones or environmental sensors, can capture new perspectives of the natural world.

“Additionally, sustainability and the environmental impact of art production are increasingly significant topics, influencing both creative methods and the content of artistic works.”