Joyce Campbell (b. Aotearoa New Zealand) is an interdisciplinary artist based in Auckland, Aotearoa New Zealand. She has a BFA from the School of Fine Arts, University of Canterbury (1992) and an MFA from Elam School of Fine Arts, University of Auckland (1999). She has lived, taught, and worked in Southern California and in Auckland, New Zealand, and has undertaken residencies in New Zealand (2001) and Antarctica (2006). Her recent work utilizes anachronistic photographic techniques, such as the daguerreotype and ambrotype, as well as conventional analogue and digital photography, video, film, and sculpture to examine the collision of natural and cultural systems. Campbell’s interest in biological and physical systems has led her to develop a set of photographic techniques that render visible the minute and incremental emergence of complex form, be that the growth of a microbial colony, crystals in the process of formation, the migration of glaciers into the ocean, or of silver from an electrode dispersing into colloidal suspension. She produces mural-scale photographs that invite her audiences to immerse themselves in the environments depicted. Campbell has participated in numerous exhibitions both in New Zealand and abroad including The Future is already here- it’s just not evenly distributed: The 20th Biennale of Sydney, Cockatoo Island & Gallery of New South Wales, Sydney, Australia (2016), Heavenly Bodies, Santa Barbara Museum of Art (2014), Che Mondo: What a World, Curated by Carole Ann Klonarides, Los Angeles Municipal Art Gallery, Los Angeles, USA (2013), Te Taniwha/Crown Coach, Nichols Gallery, Pitzer College, Claremont, CA September (2012), The Liquid Archive, Curated by Geraldine Barlow, Monash University Museum of Art, Melbourne, Australia (2012), Altogether Elsewhere, Curated by Rob Tufnell for the Zoo Art Fair, London, Great Britain (2009). In 2019 the major survey exhibition On The Last Afternoon: Disrupted Ecologies and the work of Joyce Campbell curated by John Welchman opened at The Adam Art Gallery in Wellington. Tessa Laird completed her Doctorate in Fine Arts at Elam, the University of Auckland in 2012. Laird has exhibited works locally and nationally in artist-run spaces, private galleries as well as public art institutions such as: In the Hand (Sarjeant Gallery, 2018), Turn of the Wheel (Malcolm Smith Gallery, 2016), Five by Five: New Conversations with Clay(Te Uru Contemporary Art Gallery, 2015), House of Bats (Corbans Estate Arts Centre, 2014), We Are But Dust and Shadow with Richard Orjis and Tiffany Singh (Melanie Roger Gallery, Auckland, 2014), Slip Cast (The Dowse Art Museum, Lower Hutt, 2014), Freedom Farmers: New Zealand Artists Growing Ideas (Auckland Art Gallery, 2013-2014), Reading Room with Peter Lange (Objectspace, Auckland, 2012) and the Portage Ceramic Awards(Lopdell House, Titirangi, 2012). Work by Laird was recently featured in Art News New Zealand and additionally she has published her own artist books both with Clouds publications: A Rainbow Reader (2014) and Shards of the Jealous Potter (2006), as well as writing a monograph for the acclaimed Reaktion Animal series, Bat (2018). Laird is currently based in Melbourne and works as an academic lecturing in Critical and Theoretical Studies at the School of Arts, University of Melbourne and as a writer alongside her arts practise. Dr Susan Ballard is an Associate Professor of art history at Te Herenga Waka Victoria University of Wellington, where she teaches courses on art and the environment, affect and memory, and art writing. Her work spans the fields of art history, creative nonfiction, and environmental humanities. She writes for both academic and general audiences, and is particularly interested in collaborative narrative, nonfiction and fiction as a mode of art history.